La Cage aux Folles – Regent’s Park Open Air Theatre

Carl Mullaney in La Cage aux Folles at the Regent’s Park Open Air Theatre, London. Picture: Mark Senior

La Cage aux Folles continues at the Regent’s Park Open Air Theatre, London until 16 September 2023.

Star rating: five stars ★ ★ ★ ★ ★

Sometimes, it seems as though there is timeless musical theatre, and then, separately, there is musical theatre that addresses social issues in a revolutionary way. This crazy world of ours moves at such a pace that the most ground-breaking of shows – especially comedies – too often lose impact, with revivals skating by on familiarity, nostalgia and stunt-casting. When Harvey Fierstein (book), Jerry Herman (music and lyrics) and Arthur Laurents (original director) debuted La Cage aux Follies on Broadway in 1983 to adoring audiences, it changed the world of entertainment with its centring of a gay family story. Can it possibly be still funny, relevant, and powerful in 2023?

This production’s programme features a double page spread of a timeline of the progress of LGBTQ+ rights. The world has changed, but the hatred of and obsession with a given subset of the LGBTQ+ community that some people harbour today is often no less ferocious than those of yesteryear. Amongst the ebbs and flows of political and media persecution, the last five years have seen a tripling in homophobic hate crime, and a quadrupling in transphobic hate crime. It is into this landscape that Regent’s Park Open Air Theatre’s artistic director Tim Sheader has revived this story of a gay nightclub owner, his drag queen partner and the bigoted soon-to-be-in-laws they are compelled to placate.

Admittedly, “important people are coming for dinner and we must maintain a lie to impress them” is a comedy device that the four decades since La Cage’s premiere have seen done to death, but – as with a great episode of Frasier – when this plot is done well, it can be exquisite. Fierstein’s book simply radiates wit, like a disco ball transforming the most derelict of clubs into a glittery wonderland. Meanwhile, Herman’s score is as lively and affecting as ever. If your test of a musical is whether you leave humming the songs, the happy hordes making their way to Baker Street station tonight while belting out the opening number should assure you of satisfaction.

Every member of this cast imbues their character with sparkle and verve, to the extent that in some scenes you have a choice of which mini scene of comic business to lend your focus. The Cagelles are not just hilarious, but they bring true fierceness to choreographer Stephen Mear’s brilliantly extravagant dance numbers. Beyond these mind-blowing physical displays, Shakeel Kimotho is an absolute delight as Jacob the maid and the ever-wonderful Debbie Kurup lights up her every scene as Jacqueline.

Of course, both the drama and the comedy of La Cage hinge on the decades-old gay relationship at its heart. Carl Mullaney and Billy Carter have sensational chemistry as Albin and Georges, and whether reminiscing about their love or bickering about their club, the affection between the pair is palpable. In this comedy, the queer family they have built is taken absolutely seriously, and it is as heart-breaking for the audience as it is for them whenever it is threatened. Mullaney’s Act I closing performance of ‘I Am What I Am’ is as powerful and show-stopping as you could hope, but also shot through with very human and very raw truth. Incredibly affecting stuff.

The details of this production are spectacular. Colin Richmond’s sets project all the dinginess of a struggling St Tropez gay club, but somehow burst to life when Howard Hudson’s fantastic lighting design hits them just right and the Cagelles dance us into heaven. Ryan Dawson Laight’s costume design is exceptional also, with some outfits being so special as to alone draw laughs and spontaneous rounds of applause. Most importantly for a comedy show written four decades ago, the queer-led creative team has absolutely nailed the tone. Wherever there are jokes that might require trust in the teller that their intentions are good, that trust is there. During the most outrageous moments of bigotry from the piece’s villains or the ruminations on gender roles and family from the heroes, the audience is assured that everybody is in on the joke.

However, amongst all the many things to compliment about this production, something that stood out as worthy of special mention after enjoying so many excellent productions at Regent’s Park Open Air Theatre is the perfectly balanced sound by Nick Lidster. Vocals are crystal clear, and musical director Ben van Tienen’s nine-piece band sounds immense. A lot of regulars have accepted that the challenges of staging musicals outdoors mean we sometimes have to put up with slightly subpar technical quality, but this production raises the bar for this beloved space and makes me excited for productions to come.

Most importantly, La Cage hits hard because its message of accepting yourself and others for who they are is as timely now as it was in 1983. Beyond the twisted fantasies of perversion and moral failings that infest the mind of obsessed bigots, there exist human beings, whose capacity for love, generosity and lives well lived is no less worthy than anybody else’s. In a beautiful venue that perhaps more than any other connects you with the people around you and the performers on stage, this production of La Cage is a joyful summer tonic to the dark side of our wider world. You should treat yourself to a ticket or two before this season of outdoor theatre ends.

Ian Bowkett