When La Cage Aux Folles’ seductive opening number “We Are What We Are” is recalled in Act One’s closing song “I Am What I Am,” the cheeky frankness of the former becomes transcendent and self-actualizing in the latter. The statement “what we are is an illusion” transforms into a stirring assertion of oneself and a bold act of defiance.
Christopher Sieber sings that showcase number as Albin, who in turn is playing Zaza, his diva alter-ego and the main attraction in a Saint-Tropez drag nightclub called La Cage aux Folles. Though reminiscent of Nathan Lane’s interpretation of the same character in The Birdcage, Mike Nichols' 1996 film adaptation, Sieber’s Albin is warmer, less a delicate flower than a sensitive soul who truly relishes the limelight and entertaining audiences. Having seen clips of Douglas Hodges playing the character on Broadway, I think audiences are in for a treat when they behold Sieber in this touring production.
Harvey Fierstein, the award-winning author who penned the musical’s book, gives Albin the play’s best lines, many of which I wanted to hear again. Sieber delivers each witty rejoinder and put-down with panache and an amazing ability to quickly modulate the pitch of his voice.
The serviceable plot finds Jean-Michel — the son of Georges, Albin’s life partner — announcing he is marrying his sweetheart, Anne. However, he must first secure the approval of Anne’s conservative father and mother, Monsieur and Madame Dindon, who will soon be arriving to meet (and judge) Jean-Michel’s parents. To please his son, Georges knows his must keep the flamboyant Albin out of sight while he hosts the unwanted guests.
Not all the pieces to this comic fantasia fit comfortably. As the swishy butler Jacob, Jeigh Madjus is less comic foil than squeaky irritant. George Hamilton brings to Georges his own blandly debonair persona. However, there’s no denying his charm as an ingratiating impresario, and he handles his musical numbers rather well if a bit too smoothly.
Adding to the conceit that those in the audience are in the nightclub, the play includes some interactive moments with the performers, including Les Cagelles, the fabulous drag chorus line that is a marvel of grace, timing and physicality.
Sieber’s moving, grand performance anchors the show, as do a host of wonderful songs — “The Best of Times,” “Look Over There and “With You on My Arm” — that are sentimental without veering into schmaltz.
