La Cage Aux Folles brings glitz and glamour to The Alhambra where Leo Own caught the show

Originally a play by French writer Jean Poiret and later adapted for the stage by Harvey Fierstein (Kinky Boots) with music and lyrics by Jerry Herman (Hello, Dolly!), La Cage Aux Folles tells the story of a gay couple who own a drag club and are forced to conceal their relationship when their son announces his fiancé’s father, Edouard Dindon (Paul F Monoghan), is extremely homophobic. To make matters even worse, Dindon campaigns on the Traditional Family Moral Club Committee, calling for the closure of immoral transvestite venues.

Richard Mawbey’s sumptuous design and costume quickly introduce the Saint-Tropez drag scene with red and gold gilt stage framing the set. The show begins with Georges (Adrian Zmed) acting as compere in a white and black tux to welcome us to his infamous club, the titular Cage Aux Folles, and introduce his acts.

Opening number “We Are What We Are”, quickly sets up the drag premise as performers move from silver and sequin spangles to de-wigging. Aside from gender revelations, it also acts as precedent for the show’s high energy feel-good vibe and its reprise “I Am What I Am” is undoubtedly the stand-out track, later given international acclaim and made into a gay anthem by Gloria Gaynor in 1983. While other musical numbers are perfectly hummable and include strong performances, they are weaker and don’t stand alone - the exception coming from a moving singalong of “The Best of Times”, including powerful vocals from Marti Webb as Jacqueline.

Mawbey’s set fluidly moves from the performance area to behind-the-scenes, inside the apartment above the club, pastel coloured shop fronts and a restaurant interior. His vibrant and occasionally outrageous costumes are impressive in number and complement glamourous backdrops and flamboyant personalities. To contrast to Georges’ initially kitsch apartment (complete with a nude lamp, including an erect penis for a switch), his son, Jean-Michele (Dougie Carter), dramatically strips back the décor to masque his parents’ sexuality in preparation for the arrival of his fiancé, Anne (Alexandre Robinson).

Although written in the 1980s’, the show never feels dated as Director Martin Connor liberally injects it with contemporary references. Energetic performances and humour are integral with some playful ad-libbing and generous inclusion of sexual innuendo. S&M performer Hannah’s (Jordan Livesey) relationship with the club’s stage manager is humorously tracked through injuries and sprains.

Georges’ partner, Albin (Eastender’s John Partridge), is first introduced as a diva refusing to go on stage as Zaza. Patridge starts with slightly weak vocals but quickly warms into the role, encapsulating Albin’s complex personality and truly stealing the show. He’s at his best in peacock ensemble playfully ribbing the audience and other touring shows, prompting audible snorts of laughter from all, including himself. His lesson on how to play a convincing man is comic gold, full of highly exaggerated facial expressions/pauses, arousing awkward chuckles.

La Cage Aux Folles is truly a treat to watch, both feel-good, farcical and full of heart. The cast are let down by some slightly samey songs but more than make-up for this with three dimensional energetic performances. During their much-deserved standing ovation, it is clear to see they are visibly emotionally invested and their hard work has truly paid off: what a show!

La Cage Aux Folles shows in the Alhambra Theatre July 19-22.