La Cage Aux Folles

Add mine to the chorus of voices singing their praises of Douglas Hodge in La Cage Aux Folles. His is by far the tenderest, inner-reaching, portrayal of Albin, the flamboyant star, "Zaza," of the titled review, to date. Kelsey Grammar acquits himself well as George, Albin's partner and proprietor of the club. But this production from the Menier Chocolate Factory (they of the 15 Tony Award nominations for "La Cage" and "A Little Night Music.") is illumined by the brightness and depth of its inestimable star, Mr. Hodge.

Much-noted are Mr. Hodge's somewhat loftier portrayals--in Pinter and Chekhov (and that other writer of ribald reviews, known as Shakespeare). And it always lends a certain deliciousness when a "serious actor" comes over to the musical side of the aisle--but I wouldn't have cared if Mr. Hodge had come from "Banana Spiel." I have not seen his work on the London stage, but I am glad he has traveled across the pond, and the musical divide.

This relatively spare production blends well the pathos of the shabby nightclub with the dignity and redemption of its denizens. Every bead and feather left out lifts things up. The two great songs, "The Best of Times" and the gay anthem "I Am What I Am" become clearer and stronger in the spare light of shab. Kudos to Terry Johnson for the insight of his direction.

The main storyline here has never been the point of La Cage aux Folle. Whether George and Albin's son can pull off the ruse to fool his intended in-laws that he was raised in a more traditional home—we don’t care, of course. We do care about Albin's feelings of betrayal. We care about every twitch and turn Albin struggles with to keep both his boy and his soul. It is not broad flamboyance Mr. Hodge uses here, it is charm and grace and heartfelt sorrow. Bravo. Brava.

Ron Gallen