Welcome!

Dear Reader,

      Hello, and Welcome to La Blog Aux Andrew. For many years I have posted informal reviews of theater, film, television and literature on face book, my space, and long forgotten live journal. After much encouragement from friends I have decided to go for the big time and create an official theater blog!

   Here you will find my musings on all things entertainment related. It will mostly be my opinions about shows I have seen on Broadway. There will also be the occasional film and or television review if something strikes my fancy. 

  The 2010-2011 theater season is already well under way. I've had the privilege of seeing many of the new offerings that have hit the boards this season with the exception of three thus far. I sadly missed the boat on Elf, Bloody, Bloody Andrew Jackson, and La Bete. From what I understand, however, missing the boat on La Bete was like being two minutes too late to board the Titanic.

  So what shall be the first show featured in my diary? It's not a new show, nor is it a new revival for the current season. This production is one of the only musicals to have the distinction of winning Best Musical, and Best Revival of a musical twice! You've guessed, or maybe you have not, it is none other than La Cage Aux Folles!

   For those who are unfamiliar, La Cage Aux Folles debuted as a French Farce by Jean Poiret. The play was so incredibly successful that it has spawned a film version that itself had two sequels, an updated version called The Bird Cage, which starred Robin Williams and Nathan Lane, and of course the classic Jerry Herman/Harvey Fierstein musical which is currently on exhibition 8 times a week at The Longacre Theater.

   The story centers around  Georges, the manager of a Saint-Tropez nightclub featuring drag entertainment, and Albin, his romantic partner and star attraction, and the farcical adventures that ensue when Georges' son, Jean-Michel, brings home his fiance's ultra-conservative parents to meet them.

   Though it probably need not be mentioned considering it's been around for 28 years, the score is wonderful. Jerry Herman has created music that perfectly captures the essence of these characters and of this story. His music and lyrics can tap your toes, and your heartstrings all at once. Harvey Fierstein has crafted a book that is both campy and humanizing.

    The current Broadway revival (which originated at The Menier Chocolate Factory in England) stars Kelsey Grammer as Georges, and Douglas Hodge repeating his work on Broadway as Albin. Both actors give masterful performances.
 
   Grammer sings the score relatively well, though at times it is clear that he is struggling. His comic timing and line delivery is wonderful, however, and only very briefly, and not very often does one feel they are watching Frasier Crane as Georges. Though this is probably because he put so much of who he is into that character.

  The true star of this production, is Douglas Hodge as Albin. He takes a character that could be played solely on it's surface value, and brings an astonishing amount of depth, substance, and humanity to the role. As he makes his entrance in a wig cap and bath robe, it is difficult to imagine this frumpy looking man as a lavish star of drag. Mr. Hodge completely transforms himself though, with every brush of more mascara.

  The supporting cast is also Divine, lead by Robin De Jesus as Jacob, the butler who longs to be star, A.J. Shively as Jean-Michelle, and Elena Shaddow as Anne. Fred Applegate and Alice Beasley also do well in their roles as the ultra Conservative parents in law to be.

  And of course there are those Cagelles, for whom the management cannot be held responsible! These men create imagery that is both Feminine and Masculine. They execute Lynne Pages fabulous choreography with pure athleticism and simple grace.

   Behind all the make up and sequins lies a heart felt story about family values, morality, and every persons desire to live their own life without opposition or interference from other people. The writers make political statements without being polarizing. They point out flaws in our American Conservatism with self deprecating humor, a tuneful score, and perhaps a few tears.

    This production begs us to realize that life is fragile, precious, and forever moving toward it's end.  All the things that matter are right before us. Yesterday is past, and as for tomorrow - well, who knows. I challenge anyone to see this production of La Cage Aux Folles and not leave the theater truly believing that the best of times is, in fact, now.