La Cage aux Folles

Reviewed by Holly Bartges

Devastation slowed his dancing feet, filling the vessel until the smiling face seared in deep wrinkles. As the music for “I Am What I Am” faded, everything breathing life into him disappeared. Drained, Albin’s vacant eyes told the story at the end of Act I.

Stephen Day (Albin), Michael E. Gold (Georges) in the Arvada Center’s production of La Cage aux Folles. Photo by P. Switzer

Albin, the fiery, flamboyant star attraction for The St. Tropez Nightclub featuring drag entertainment, managed by Georges, comes to vibrant life under the artistic expertise of Stephen Day. Michael E. Gold takes on Georges with electrical magic designed especially for Georges, exemplified by Gold.

Albin and Georges? That has to be Henry Fierstein’s La Cage aux Folles engulfed in Jerry Herman music.

La Cage aux Folles at the Arvada Center? You bet!

Aside from the many fabulous productions the Arvada Center produced over the years, this production of La Cage rises straight to the top of the list for startling, stunning, cohesive, character envelopment, set design, lighting, eye-popping precision tap dancing, humored, poignant touching story as one of the finest the Arvada Center ever produced.

The combination of Director Rod A. Lansberry, Choreographer Kitty Skillman Hilsabeck, and a cast pouring out its heart into every heartbeat of the production spells miss-this-show- and=you=will-be-forever-sorry. For those who cringe over the story line, all the more reason to go. The story, undoubtedly played out in the universe every week several times over, tears the heart then mends it with its down to earth human believability.

A beautiful heartbreaking redemptive story finds itself book ended with some of the most exciting high quality precision tap dancing seen on any Denver Metro stage.

After Georges slick showmanship introduction and welcome, the Les Cagettes dancers stop the breath with the song “We Are What We Are” musically fed by conductor David Nehls and musicians Keith Ever, Jean Bolger, Harry Grainger, and Dan Leavitt. In gorgeous, seductive spangled costumes, the song and dance smoothly covers the heartache it takes for drag entertainers to boldly declare, Ò“we are what we are” with stalwart pride and confidence. The choreography matches the actors’ abilities, and the actors meet the demands of the choreography with thrilling completion.

It’s minutes away from Albin’s big number and he’s nowhere to be found. In the apartment attached to the club, Georges emphatically pounds on a door to locate his 20-year partner.

From the kitchen, Albin appears dramatically annoyed. He’s been cooking all day. In over sliced unappreciated housewife style, Albin fishes for support and approval from Georges convinced there has to be someone else.

In the hectic fray, Georges’ son, Jean-Michael appears with a spectacular announcement and blood-curdling request. Open, wearing his heart on his sleeve, Nick Spangler splendidly fashions Jean-Michael into a delightful young man happy with his life and very much in love. Of course, he’s been in love many times before, but this time with Anne it’s different demonstrated by the song With Anne On My Arm. The intersected ballet between Jean-Michael and Anne, beautifully played by Rachael Turner, puts romance in its rightful place, deep within the warm embers of the heart.

The problem: Jean-Michael wants Sylvia, his biological mother, at a party to meet Anne’s parents. No one has seen her in 20 years. At that moment, it doesn’t matter Albin is the one who raised him. Everything must appear normal to appease Anne’s moralistic uptight, political father, Eduardo Dindon and straight-laced mother Mme. Dindon. Mark Rubald takes on Eduardo smelling of moralistic prowess the moment he walks onto stage with Heather Fortin Rubald as Mme. Dindon closing the moralistic strings right behind him.

Torn between his love for Albin and his love for his son, Georges drags his feet to lay the nerve-wracking, unreasonable request upon Albin. When the truth comes out, the devastation drains Albin of his flamboyant life force.

Milton Craig Nealy’s portrayal of Jacob the maid comes with power, strength, and knock-out “stunniness” every moment he steps onto the stage. Nealy takes command of Jacob, and Jacob takes command period.

Zina Mercil’s portrayal of Hannah as the whip cracking dominant has the audience ready to say “Yes, Ma’am!“ whenever her authoritative whip cracks.

Georges’ solution to Albin’s predicament comes deliciously humorously with the song Masculinity as Georges attempts to teach Albin how to act in an approved macho style to be presented as an uncle. Even the humorous songs add spiced touching warmth, but none so warm and touching as Song On The Sand by Georges and Albin, and Look Over There by Georges and later with Jean-Michael.

Sharon Kay White gives one of the strongest determined performances ever as Jacqueline, proprietor of a restaurant. Her song The Best of Times with Albin and restaurant patrons dynamically explodes with star-studded brilliance. With Albin coming up with his own solution, his enthusiastic excitement blows the lid off of everything. The moralists nearly lose it until Jean-Michael steps up to the plate claiming his meaningful place, running the risk of gaining support or losing everything.

Everything about Albin leaving Jean-Michael shaking in his boots proves to be Albin’s strongest suits. Courage captures Jean-Michael when a moralistic disaster tumbles through the restaurant. Funny how courage takes over in the midst of near disaster.

Brain Mallgrave’s set design screams with La Cage personality. Gail J. Gober’s lighting design shines as brilliantly as the cast, the music, and the story. Nicole M. Harrison’s costume design, in its fullness and not-so-fullness, struts wondrously with the marvelous wonderfully defined characters.

Winner of the 2004 Tony Award for Best Revival of a Musical, with high kicking long legs and skimpy sequined costumes, La Cage digs deep into the soul of humanity revealing the confusion of dishonesty, unraveling hurtful cover-ups, demoralizing pretense, and that feared mistakes can often become revolutionary redemptive.

Hysterically poignant, and poignantly humorous, fine-tuned to the nth degree, if this production doesn’t represent the basic yearnings for a Holiday celebration, I don’t know what does.

La Cage aux Folles rips into the Arvada Center as sensational, divine, dynamite. Don’t think twice. Call now for reservations!