La Cage Aux Folles

Add mine to the chorus of voices singing their praise 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. Yes, Kelsey Grammar acquits himself well as George, Albin's partner and proprietor of the club--he does. 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 it's inestimable star--Mr. Hodge.

Much-noted are Mr. Hodge's somewhat loftier portrayals--in Pinter and Chekhov (and that other writer of ribald reviews--better 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 Shpeel." I have not really seen his work on the London stage, but I am glad he has traveled across both the pond and the musical divide. Welcome.

The genius of this production is how seamlessly it blends the pathos of the shabby nightclub, with the dignity and redemption of its denizens. Every bead and feather left out here lifts the whole thing up, gives rise to that dignity. The guts of 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.

I've always felt that the main story here is really a sort of slight sidebar. 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--who cares? We definitely care though about Albin's feelings of betrayal. This time anyway, we care about every twitch and turn Albin struggles with to keep his boy and keep his soul. It is not broad flamboyance Mr. Hodge uses here, it is charm and grace and heartfelt sorrow. Bravo.