Life Is But A Drag...
So, the question is - can *any* production of 'La Cage' overcome the obvious spectacle of tarted-up boys in wigs and heels gamely attempting to limp their way through whatever acrobatics the choreographer can muster up? Will this Footloose-esque morality play allow its central theme of tolerance and creative/personal freedom to shine through all of the boas and fake eyelashes? What More Teeth does not want to see is another excuse for a drag show dressed up as a musical. Drag shows are great if billed as such and Miss Sabrina Blaze needs a little competition anyway...but we were impressed enough with Courthouse's 'Trailer Park Musical' last month to come back to South County and see if they can repeat the success with a rehash of one of this year's revival faves. People love this show, but is it because it's fun to see boys (and one much older man) in drag? Or, is it because the book and score are tight, the dramatic irony delicious and the comeuppance of the conservatives complete? Either/Or, we suppose...but we're hoping for the latter. Let's see if this production impresses in spite of the dresses, not because of them...
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There's a famous line from the film "Tootsie" where the studio director asks the cameraman how far he can pull back to make Dustin Hoffman's drag diva look more presentable. "How about Cleveland?" is the response. A little distance is forgiving...not only to cover flaws, but to lend a little perspective. Courthouse's current spectacle is a glitzy bash, full of strong voices and spectacular costumes, but suffers from a case of cramped quarters. Director Russ Maitland has staged an ambitious soiree of kick lines, splits and more wardrobe changes than seems humanly and financially possible, but we spend our time divided between admiration for the precision and fear that one of these boys/girls is going to have a mid-air collision. We're simply too close to the action, even in the last row, to be able to take it all in. What is meant to be seen on a proscenium stage from at least 20-30 feet away is jammed into the small Courthouse space.
That's not to say that it never works - often it does, particularly in smaller numbers or even large numbers with little major choreography, such as the uplifting "The Best of Times." But the Can-Can, gymnastics jamboree that closes Act One had so much going on that peripheral vision cannot take it all in. What we do take in at such proximity is the fact that these Cagelles are not all boys. When they tell us "we are what we are," they are, in fact, not. Using females to cover the bit parts is common enough in this show, but to have just as many girls playing boys playing girls as the real thing seems like cheating. Especially when some of the boys pull it off with more success...
We get too close a look at the spit and baling wire as well...the black gaffers tape covering the tiles that make up the main stage platform are hastily painted brown and the feathering design effect painted into the walls seems far less accomplished close up than it would from a distance. Once again, it seems a limitation of the space, not the efforts of the designers. Even the makeup, skillfully rendered by the show's lead, Eric Pereira, is meant to read from the 30th row, not 10 feet away. It's as if this show cannot make up its mind whether it's a Broadway spectacle or an intimate nightclub act. Maitland informs us that Courthouse will be taking its next production, 'The Buddy Holly Story', to Cranston's thousand seat Park next month and we end up wondering what 'La Cage' would have looked like on that stage. At the very least, we would not have had to stare at those obtrusive microphones taped to everyone's heads, which makes everyone in that space look like they're directing air traffic. They are not needed, especially when the orchestra, ably directed by Stephen Decesare, is sequestered offstage somewhere. If this is supposed to be a nightclub, then why not use handheld mics? Otherwise, to force a muddy mix of feedback and reinforced spoken dialogue on an audience that is sitting in Zasa's lap is unnecessary and distracting.
All that aside, there is much to enjoy in this production, and the audience on July 9th seemed to have a fantastic time (including giving up the obligatory standing ovation which seems so easily won these days). Our two leads, Georges (Douglas Hummel-Price who also doubled as part of the set construction team) and the aforementioned Pereira as Grand Dame extraordinaire, Albin, have a decent chemistry and the relationship comes across as tender and heartfelt, not campy, or worse, uncomfortable, as it could have been. Their numbers are high points in the show, both solo and in duet. For Pereira, who has the lion's share of the burden in making this show work, his few weak moments are slight enough to highlight how strong his performance is, overall. His first number, "A Little More Mascara", was a victim of a tough staging choice where he gives us profile throughout, missing the opportunity to use a wall of mirrors behind before the big reveal by song's end. He also relied too much on "eek!"s of indignation, channeling Nathan Lane, and seemed strongest when bouncing off of other people. But his character arc was crafted and subtle and even managed to stay afloat in his conflict with "son" Jean-Michel, despite the inefficiency of Billy Hart's performance.
It would be too easy to write off Hart as miscast in the role of the straight son raised by "one transvestite and one regular homosexual" if we weren't fascinated by the fact that he pulls double duty as both Jean-Michel and one of the Cagelles. He was a blur of button downs and boas resulting in a performance drenched in sweat. If his fiancee's parents had any objection to him being their son-in-law, it would be for fear of his drowning the poor girl. It was clear that more boys were needed in this chorus, but Hart should have concentrated his energies there as opposed to running back and forth. The Jean-Michel/Anne subplot is a no-show. It's not until the appearance of and the delightfully campy performance by Rick Bagley as the arch conservative Edouard Dindon (so bad it's good) and the spirited presence of Joanne Arnold as Mme. Dindon that Anne and Jean-Michel hold our interest.
The issue of girls in the chorus aside, the overall cast is lively and more than competent, with many turning in memorable character bits. Jack Bailey's "Phaedra" manages to look stunning while actually disturbing the hell out of us...was that in the script??? And, though written for a male, the part of "Hanna" is owned by Christine Treglia who wields a whip with the surety of a lion tamer. Trudi Miller's Jacqueline is a joy to watch, and the restaurant scene holds up overall as the best looking, sounding and effective part of the show. Why? Because the dancing is simple, the performers are not over-amplified and the spirit is infectious. It uses the small space effectively, filling the stage without burdening the audience with too much at once.
If there is any burden for the audience, it is the heat. Show up with minimal clothing and get something to drink. Air conditioning is slight at best and we were sweating right along with the cast. The only respite was going outside at intermission where we managed to get locked out of the building completely (!!) and had to pound on doors to be let in before the second half started.
So, the question is, as always: is this show worth going to see? Yes, it is. But only if you're there for a decent musical comedy. If you're going for the drag show, you might be disappointed - all is not as it would pretend to seem. Unless you sit as far back as possible, squint and ignore the sopranos.
'La Cage Aux Folles' is presented by Courthouse Center for the Arts July 8-25. Tickets can be purchased online at www.courthousearts.org or by calling 782.1018. Prices are are: $27 (Adults), $24 (Seniors and Members)$18 (Students and Children.) No special rate for drag queens.