The Encores! revival of La Cage aux Folles at New york city Center has sparked considerable interest, not only for its all-Black cast but also for its full-orchestra restoration of Jerry Herman’s 1983 score. This revival, directed by Robert O’Hara, aims to reinvent the classic musical while staying true to its heartwarming themes of love and loyalty.
The story follows Georges (Wayne Brady), the owner of a St. Tropez drag club, and Albin (Billy Porter), the club’s star performer. When their son, Jean-Michel (Alaman Diadhiou), announces his engagement to Anne (Rachel Webb), the daughter of a conservative politician, the couple must navigate a series of comedic and emotional challenges. The musical, based on Jean Poiret’s French farce and adapted by Harvey Fierstein, remains a beloved classic with its colorful characters and timeless score.
Standout Performances and Musical Highlights
The revival’s standout performances come from Billy Porter and Wayne Brady, who bring a credible chemistry to their roles. Porter’s portrayal of Albin is particularly noteworthy, capturing the character’s theatricality, vanity, and emotional depth. His rendition of the iconic song “I Am What I Am” is a highlight of the production, though his singing is somewhat uneven. Brady, on the other hand, delivers a genial and appealing performance as Georges, though his singing style leans more toward pop than the traditional musical theater sound.
The supporting cast also shines in various roles. James Jackson Jr. steals scenes as Jacob, the couple’s sassy maid/butler, while Tonya Pinkins brings authority and glamour to her role as Jacqueline. The Encores! Orchestra, led by guest conductor Joseph Joubert, is a triumph, bringing the score’s sophistication and warmth to life.
Challenges and Criticisms
Despite the strong performances, the production faces several challenges. The treatment of Les Cagelles, the drag chorus, is somewhat misguided, with individual performers overshadowing the unity of the group. The stage design, which includes a cramped set due to the orchestra occupying part of the stage, fails to establish a coherent setting for the various locations in the story.
The comedy, while providing ample opportunities for disguise and social collision, struggles to find its footing. The timing is often loose, and the farce rarely gathers the momentum needed to fully engage the audience. The production’s attempt to set the story in the present day also highlights its contrivances without establishing a convincing connection to contemporary queer politics.
The Best of Times
Despite its flaws, the revival of La Cage aux Folles offers moments of pure joy and emotional resonance. The curtain-call singalong of “The Best of Times” finally creates the elation that the production has been building towards. While the best of times may come mostly from the orchestra pit, the performances by Porter and Brady are undeniably stellar, making this revival a must-see for fans of the classic musical.
The production runs through June 28 at New York City Center, 131 W. 55th St., and tickets are available at .
