La Cage Aux Folles with Kelsey Grammer & Douglas Hodge
Wednesday, July 7th, 2010 Longacre Theatre
I was really looking forward to seeing this much lauded revival of a show I’ve never really felt was worth its praise. Speaking only of the show itself and not this production, it’s really just a little fluff ball of a show with one truly emotional song and some numbers that literally pause the show for a few sleep-inducing moments. This production, however, made most of this somehow disappear, and what emerged onstage was an endearing, heartfelt and thoroughly entertaining evening of musical theatre.
I’ll begin with the performances.
I’ve truly never been impressed by anyone in the role of Georges, and I expected to be underwhelmed by Kelsey Grammer. I was very, very wrong. I thought he was spectacular- charming, lovable, strong. He carried the show and gave everyone (and everyone) a shoulder to lean on. He is the base of this production, and it shows. He was totally deserving of his Tony nomination, and to be honest, it’s hard for me to say that which leading LA CAGE male I would’ve cast my vote for.
Douglas Hodge was just fabulous. He’s a very different Albin from what I have seen before- think more Nathan Lane in “The Birdcage.” His Albin is much more of a mother figure, and that makes the story so much more interesting. I will admit that a few of his lines were completely lost by me because of his accent, but I adjusted to it in time and all was well. His “I Am What I Am” did just as it was designed to do. It brought the house down and closed the act with a crowd-pleasing bang. Hodge’s voice is so soothing- often almost a whisper. He’s a performer who really knows what he is doing up on that stage. He and Grammer both deserved all the accolades they have received for these two fabulous performances.
The supporting cast was strong but could hardly hold a candle to their leads. I thought Robin De Jesus was quite weak. I’ve seen this role played in many regional theatres, and it’s really not a hard one to get right. It’s a comic relief role. Somehow De Jesus missed that point and, honestly, got very few laughs throughout the night. I wasn’t really bothered by his accent but rather his lack of real “spice.” There were many other featured male performers that should have taken his spot on the Tonys nominee list.
Fred Applegate and Veanne Cox were nice. It was nice to see them in the earlier scenes, and their later scenes were nice as well. I suppose it is not their fault they are burdened with the worst song in the score “Cocktail Counterpoint.” That song is, in fact, the only song in this production that truly did not work. That was the only time that entire evening that I simply wanted a scene to end. Cox had me very worried at the beginning of the scene with her odd take on the character. I eventually warmed up to it, and she was great later in the show. In no way shape or form should she have been on anyone’s Tony nominees list. I read about people mentioning her as a Tony possibility, and that would have really been one embarrassing nomination.
A.J. Shively and Elena Shaddow were nice. Shively was endearing, and I really felt the love in that household. He and Grammer had beautiful chemistry. I wish I would’ve been able to hear Shaddow sing a little more. She needs to find herself a good soprano role on Broadway soon. Christine Andreas is cursed with the show’s worst role, but she does what she can with it. I felt it was very awkward when she starting singing with Hodge in the title song. That character is just so absolutely random to me.
The Cagelles were absolutely breathtaking. The title number was one of the most thrilling things I’ve ever seen on the Broadway stage. Really just spectacular. I wish the Tonys could’ve pulled a Von Trapp children nomination and nominated all of them together in the featured actor category. No doubt they would have won!
Lynne Page’s choreography is spectacular. This really was a great year for dancing on Broadway. That was a pretty tough category this year when you think about it. Tim Shortall’s scenic design was simple and transporting. I felt like I was at that night club. I really did. Matthew Wright’s costumes were nice, and Nick Richings’ lighting was spot-on without getting in the way. I could have done with a little more robustness as far as sound goes. The mics were a little weak, and the Cagelles ad-libs during their dances were inaudible. Jason Carr’s orchestrations were as lush as they needed to be aside from the dreadful orchestrations for “Look Over There.”
I must hand it to Terry Johnson for creating such a special show. He found a heart in this show, and that is no doubt the most special thing about this production. A lot of that, I’m sure, has to do with the casting. There is an abundance of chemistry on that stage, and it makes a world of difference. I wasn’t as enthralled by the grittier side of that world that people have talked so much about. I didn’t need to be. I was enraptured by the joy of the show and the love that was springing from every actor into the audience.
