Written by Harvey Weinstein & Jerry Herman
Directed by Riley Sparado
The Concourse
5 Feb, 2023
La Cage Aux Folles was a delight! I mean how could it not be? it’s like a recipe made up of butter, sugar, and Nutella – with those core ingredients, whatever you come up with is sure to be delicious!
I’ve not seen Cage Aux Folles before, but like most gays of my generation–I’m in my second attempt at my twenties, thankyouforasking), I can quote The Birdcage from memory. I wasn’t sure how closely the source material would reflect the film, but I was pleasantly surprised by what stayed the same, and even more so by elements that were not in the film.
My favourite part was easily the troupe of drag performers (the Cagelles).
Look, I love Classic drag, female illusion and cabaret. There’s something so different from using physicality and stage presence to entertain than lip synching “foooor yooour liiiiiife”.
The costumes were stunning (if Sydney has an ostrich plume shortage, I now know why), and the contrast of the strapping muscles of the performers was hilarious if not thirst inducing.
In particular, Chantal, played by Nick Eynaud, had us captivated by each indifferent shrug or exasperated command to her bevy of ‘birds’. Towering above the rest, Chantal was both imposing and hilarious, and set the tone and high energy for the rest of the performance.
The supporting cast were all various stages of brilliant. I am so torn between my favourites: the mincing Jacob (Anthony Brandon Wong), giving Hank Azaria (his Birdcage counterpart) a run for his money, or Lucia Mastrantone’s Jaclene, a fabulous & notorious diva. I desperately want a spin off of these two characters.
Wong seemed to be having the time of his life as the maligned and put upon butler maid of Albin & Georges, and clearly believed themselves to be the main character (I’d buy it, if not for Paul Capsis’ ZaZa, who switched from Greek tragedy to farce with speed and, sometimes, grace).
My favourite Mastrantone moment was a monologue recalling a conversation with herself – the audience was hysterical! I last saw the actress in Looking for Alibrandi, so I knew she had range, but the way she physically hurled herself across furniture, and allowed herself to be carried off by Cagelle: she was a tour de force.
Noah Mullins’ Jean-Michel was sweet, though Jean-Michel came across more entitled rather than desperately in love with his fiancé. In the end, Mullins’ endearingly embodied his characters realisation, guilt and reconciliation with ZaZa.
Chloe Malek’s Anne Dindon leaves a lasting impression through her dizzying entrances (pirouetting into place). While Anne doesn’t have much to do, Malek uses the economy of her lines wisely, and creates a charismatic and likeable ingenue. She shares this trait with Zoë Ventura, who has even fewer lines but brings life to dutiful wife Marie Dindon, who is as effervescent as the champagne she guzzles throughout her scenes.
On to the leads: I was naively unaware of Paul Capsis, which I now realise is a mortal sin. Capsis’ ZaZa evokes both Harvey Fierstein’s own Edna Turnblad and Hugo Weaving’s Mitzi Del Bra, however she is (as the famous song goes) her “own special creation”.
Paired with Michael Cormick’s Georges, the duo are electric. Cormick is my pick for Hades in Hadestown when it comes to Australia. His Georges was the emcee at the titular nightclub, and Cormick deftly alternated between charming host and doting husband/father.
I was delighted my favourite scene from The Birdcage (“Albert, you pierced the toast”) was not only in the source material, but a rousing musical number as well.
There aren’t many unique songs (rather reprises and repeats), but the music is sweet and catchy (I’m still singing it days later).
Unfortunately, La Cage has finished its run. It had already been delayed once last year due to Covid, but the wait was worth it. Kudos to the cast & crew, and director Riley Sparado, for a wonderful piece of theatre and a gorgeous afternoon at The Concourse.