With utter flamboyance, a new iteration of the classic Harvey Fierstein musical storms onto the stage of the Pasadena Playhouse and decidedly takes over the theatre.
By John Lavitt
Pasadena, CA (The Hollywood Times) 11-22-2024
In a twenty-first-century version of the classic French musical, La Cage Aux Folles storms onto the stage at the Pasadena Playhouse with unwavering confidence. Based on the play by Jean Poiret, with a book by Harvey Fierstein and music and lyrics by Jerry Herman, the new production is directed by Sam Pinkleton like a Fire Island beach bonfire. From the beginning to the end, no compromises are made, and the audience experiences a production that does not give in on any level.
Playing from mid-November to mid-December at the Pasadena Playhouse, the lively musical should be nothing less than a Thanksgiving treat. However, with definitive enlightened choices in the presentation, the musical is a mixed bag of tricks. Although the performers are much to behold and put in much effort, the experience of the comedic musical is not a ball of laughs. Watching the drag show as it storms the stage is sometimes a struggle.
The show’s highlights are the scenic and costume design. As the scenic designer, David Zinn transforms the stage into a fabulous club on the French Riviera. With a massive Pink Flamingo and endless photos of beloved celebrities plastered on the wall, the set design’s authenticity is perfect. As the costume designer, David Reynoso enjoys the wondrous flamboyance of his mission. Indeed, he does his best to bring to life some mediocre performances with dynamic colors and streaming fabrics. However, despite his finest efforts, the supporting cast’s performances often weigh down the show.
Cheyenne Jackson as Georges, the impresario of the drag nightclub in the French resort town, is the show’s best aspect from a performance perspective. Incredibly charismatic, Jackson’s singing transcends the wild performers in his revue. After all, although the performances of the singers and dancers should take precedence, they fail to compare to Jackson’s power of personality that demands attention whenever he appears. His presence hints at what the show could have been if different choices had been made.
Although the show is unwavering, it is not always fun. Unlike Robin Williams in The Birdcage, a classic film version of the musical, Kevin Cahoon is not terribly funny in the lead role of Albin/Zaza. Posturing and prancing around the stage with Zaza’s determination and passion, the screeching energy he brings to the role sometimes grates. Rather than capture our attention with his musical talent as a drag performer, Zaza’s presence feels like the performance is being inflicted upon the audience.
Zaza takes over the stage in the classic musical and movie versions because his cloying nature is nothing compared to his outstanding talent. Such talent reveals the sweet soul of the character and creates a profound, empathetic presence. Indeed, there is no doubt that he deserves to be center stage, and his presence is a delight to behold. Beyond Cheyenne Jackson and the design elements, however, such greatness is lacking in this version of the classic musical.
