“It’s rather gaudy but it’s also rather grand”—and it’s also a Tony Award Winning “Best Musical”! It’s “La Cage Aux Folles”, with a book by Harvey Fierstein and a rollicking score by Jerry Herman (renowned for his groundbreaking work on such classic shows as “Hello Dolly”, “Mame” and “Dear World”.) Now in honor of OMP Co-Founder Damien Lorton’s birthday, “One More Productions—the resident Musical Theater Producing Organization housed in the historic “Gem Theatre” in Garden Grove California, has rolled out a whole new production with none other than Lorton (who also directs) in the pivotal part of “Alban’—A.K.A. Drag Diva Extraordinaire, “Madame Zaza”. It’s a role, he confesses, he’s always wanted to perform. Featuring Choreography by Shauna Bradford and Nick Bravo conducting the 13-piece orchestra, this is a tremendous event for the company and for anyone who has loved this show and everything it stands for.

The title literally translates to “The Cage Of Crazies”—but despite any misguided perceptions or controversy the show may have been tagged with over the years (especially back in the 1980’s) fundamentally, “La Cage” is a family-friendly, family-affirming show. As Lorton reminded audiences opening night, for all its gaudiness and glitz, “La Cage Aux Folles” is, at its heart, about family, and family values (but with a few drag queens thrown in.) Herman’s virtuosic score is loaded with one jaunty tune after the other—he’s even included a nifty sing-along as the eleven o’clock extravaganza. These include, “The Song On The Sand”, “With You On My Arm”, “The Best Of Times Is Now”, and “We Are What We Are”, whose basic melody establishes the now-iconic anthem for our times, “I Am What I Am”. Based on Jean Poiret’s 1973 French farce of the same name, and its Academy Award nominated 1978 cinematic adaption, what was once hailed as “a great time at the movies” is now an even better time at the theater! The multiple award-winner, (even the two Broadway revivals in 2004 and 2010 were honored with still more Tonys,) “La Cage Aux Folles” balances good old fashioned spectacle with a huge heart.

  Set in the luxurious French seaside province of St. Tropez, right off, we become acquainted with “Georges” the owner and proprietor of the nightclub of the title: “La Cage Aux Folles”— the “Pride of San Tropez, the envy of the cabaret world, the jewel of the Riviera”, which also stars his longtime partner and the love of his life, “Albin”, who performs in feminine guise as “Madame Zaza”. 

 Albin has always raised Jean-Michel, Georges’ son, as his own, but when the lad falls in love and becomes engaged to “Anne Didon”, this seasoned gay couple suddenly are faced with the hardest challenge of their twenty-year relationship: Meeting their son’s fiancé and her strait-laced parents in order to make plans for the young couple’s wedding. You see, “Anne’s”-the daughter of infamously rabidly-conservative, anti-gay politician, “Edouard Dindon’ (the ‘Deputy General’ of the T.F.M.: the “Tradition, Family and Morality” party—a man committed to cleaning up San Tropez, starting with all the local gay and drag hot spots.)  Complicating things further is how Georges reluctantly agrees to try to present a more “traditional” family to Jean-Michel’s potential in-laws. (“If you can’t be truthful, be vague” Georges wistfully cautions his son just before their ‘guests’ arrive.) Once Act Two gets underway supposedly ‘calmer heads’ have prevailed as “Georges” suggests to Albin that he attend the dinner—but as Heterosexual “Uncle Al”. Once out of Givenchy gowns and into a Brooks Brothers’ suit, we discover “Albin” seems forlorn and diminished. In every aspect a shrunken man from the one we see in the first act—but one with a decided ace up his sleeve who is also brave enough to play it in order to save the day! On the crucial evening when the boy’s biological mother fails to show at the last minute, Albin dares a creative solution to their dilemma—he’ll use his cross-dressing talents to BE Jean-Michel’s recalcitrant mother. Can he pull it off? It’s plenty of colossal belly-laughs, more than a few terrific songs, and several lessons about respect and acceptance learned on our way to finding out! 

In terms of Choreography, there is plenty to say as well. (Few realize just how dance-laden “La Cage” intrinsically is!) Happily, Shauna Bradford’s routines comprise a delightful grab-bag of fast, furious and above all, fabulous feats of fancy footwork. The opening, “We Are What We Are” is about as dazzling as it could get and sets the scene for more amazing movement to come. There’s even a dapper little Tap break punctuated with some sharp pull-backs, turns and trenches (all top of the line tap moves) which enhances the number with elegance and panache. However, Ms. Bradfords’ categorical triumph can be found somewhat later in the titular “La Cage Aux Folles”—an athletic “Can-Can” performed by all the “Cagelles” that’s loaded with high-kicks, full-on splits, and even a spirited cartwheel or two, before culminating into an adroit ‘Tres Parisian’ kick-line. (Not surprisingly, the audience couldn’t wait to clap along–count this a definite Act One Highlight!) Another buoyant group effort is “Masculinity”, as ‘Georges’, with the aid of the various townspeople of San Tropez, instructs “Albin’  how to affect a more “macho’ image (at least temporarily, like for one night,) and its done through some lively dance phrases. This too, is a Bona-fide showstopper and a dynamic way to launch the second half. Shauna also does exceptional work in making the smaller interludes stand out just as much, as in the case of “With Anne On My Arm” and it’s follow-up, “With You On My Arm”. “Cocktail Counterpoint”—Herman’s trademark five-part harmony endeavor also benefits from some dexterous cavorting to boot. Even the “big finale” has been cleverly staged with several wily nods to Herman’s previous blockbuster, “Hello, Dolly” that sees “Albin” descent the stairs at the back of the stage fully done up in “Dolly’s” distinctive red gown and feathered head piece.

 Damien Lorton gives a master-stroke performance as “Albin” (and by extension, his alter-ego, “Zaza”!) It’s always awesome to witness a performer at long last, get to create their ‘dream role’ and at times you can actually feel the sheer joy he’s experiencing from attaining this career milestone. This is made all the more special given the energy and insight which Lorton has infused into his take on “Albin/Zaza”. Yes, our hero remains high-strung and flamboyant—but this time we see him in a more natural light. He’s more genuine—not a stereotype or ‘caricature’ (although he saves some of those ‘over the top’ elements for his scenes as “Zaza”!) By comparison, Lorton paints that grandiose diva of drag as a unique and intriguing blend of Judy Garland and Katherine Hepburn (with maybe a little “Stella” Dallas” thrown in.) Our preliminary experience of ‘her’ comes as part of his initial descant, “Put A Little More Mascara On” in which “Albin” describes his thrill and satisfaction when: “I position my precious assortment of pencils and powders and paint” to metamorphize into his larger than life counterpart: “Whenever I feel that my place in the world is beginning to crash, I apply one great stroke of Mascara to my rather limp upper lash…and I can cope again, Good God! There’s hope again!” Exuding fun and exuberance, he handily ‘becomes’ his ultra-glamorous stage-persona before stepping into the limelight backed by all of the “Cagelles”. Lorton also flourishes leading “The Best Of Times Is Now”—giving it a pleasant, jaunty and high energy quality before the audience is invited to join right in. Yet as those who have attended recent shows at the Gem will attest, Lorton has a way with a good pun or punchline as demonstrated in his many pre-show curtain speeches. Indeed, arguably his peak moments (and there are many of them here,) transpire when he’s directly addressing the audience with some snappy one-liners and saucy double-entendres. Then again, anyone who knows this show (and exactly why it was considered so bold and trailblazing when it first premiered,) know that the hallmark number of the entire production occurs at the close of Act One, with Albin’s powerful and emotional declaration, “I Am What I Am”. This comes about seconds after our hero has been summarily informed he WON’T be welcome at the upcoming dinner with Anne’s parents. Lorton starts out with “Albin’s” pain palpable but repressed, as he begins comprehending all that devastation and suppressed fury within him at that moment before turning them around and expressing all the inner-strength and dignity in the face of betrayal that ultimately makes “Albin” so heroic. It’s a powerful moment–rare in any musical, and Lorton absolutely astounds with it!

As his ‘other half’, Robert Edward is “Georges”, Alban’s partner in life and love. He similarly strikes all the right chords pertaining to the essence and psyche of his character conferring upon us a strong, take-charge personality (“Nobody swished, nobody dished when I was a foreign legionnaire” he croons at one point, and the lyrics couldn’t be more fitting given his overall approach to this role.) He also has a robust and reverberant voice which he puts into the service of songs like “With You On My Arm” and “The Song on the Sand”. Moreover, the subsequent recap of this latter ballad (which opens the second act,) is equal, or even superior to its earlier rendition—just as splendidly sung and just as affecting, as “George” attempts to soothe Albin’s rightfully ruffled feathers. Not long after, he also does an impressive job marshalling “Masculinity”, then again with the poignant-but-perceptive “Look Over There” (a song that points to the universality of its message, which any parent anywhere can readily identify with.) As George’s not-always-the-most-grateful-son, “Jean-Michel”, John Lindahl proves nothing short of stellar–gifted as he is with a sublime voice, and a smooth and soulful talent for delivering a song in an invigorating pop style. He excels early on with his introductory “With Anne On My Arm”, elevating it into an instant crowd-pleaser, but undoubtedly his true superlative intermezzo, comes with his touching encore of “Look Over There”, as Jean-Michel at last grasps how thoughtless he’s been of Albin’s feelings. Having hitherto appeared on “The Gem” stage as a child, his ‘return’ is both awesome and certainly most welcome!

 Not to be sidelined either are “The Dindons”. Trick is, although they’re without doubt important figures in the story—and the primary motivation and drivers of most of the action, they don’t have all that much stage time—Mr. and Mrs. Dindon don’t even appear until Act Two! Fortunately, the actors chosen for these important roles each make the most of what they’ve been given, and the results are magnificent. Julia Iacopetti—a known and admired talent on “The Gem” stage, is Jean-Michel’s bright-eyed, rosy-cheeked lady-love and intended “Bride-to-be”, “Anne Dindon”. Even if she doesn’t really get to sing in this one, she does have a flirtatious little dance section opposite her impending Groom in the midst of “With Anne On My Arm”, and provides wonderful support during the driving (near-frenzied) “Cocktail Counterpoint”. Nickie Gentry is her chic-but-devoted mother, “Marie Dindon” who, at the outset, may appear as a well-dressed-but-meek-and-compliant Political Matron—but just wait until the story’s spectacular, no-holds-barred finish! By the same token, Tim Klega is just as spot-on as her stodgy Politician husband and Anne’s overbearing father, “Edouard Dindon”. Ostensibly, the villain of the piece, he too bestows us with a top-tier performance as the self-righteous, reactionary “defender of justice” (but his authority is undermined by the frilly undergarments he’ll be wearing before the act’s conclusion!) 

Laudable support is likewise offered by Peter Crisafulli–who adds to a lavish A-list of theatrical accomplishments he can lay claim to with his surprise turn as “Jacob”—the histrionic, gender-bending’ servant’ of George and Albin. When Georges protests that he hired Jacob as his ‘Butler’, this cheeky household hireling replies, “Well, you GOT a Maid!” Post-Intermission, when he’s discovered in a silk top-coat and matching knee-breeches (such as were worn in the 18th Century) even he gasps:” “Gawd I’m Gay!” “Jacob” truly hits his stride though, once the ‘in-laws-to-be’ arrive–particularly with his part in the “Cocktail Counterpart” number. Nicely adding to the gaieties (while injecting them with a refreshing jolt of hilarity in the process,) is Emily Guerro as “George” and “Albin’s” perky, celebutant-Wanna-Be, neighbor “Madame Jacqueline”. Ms. Guerro also has a powerhouse voice and a flair for a good comedic jab or laugh line, making one wish she had been given more occasions to showcase them here, but rest assured, she more than makes up for it with her contribution to “The Best Of Times Is Now”. Worthy of celebrating too are the “Notorious and Dangerous” (not to mention hard working) “Les Cagelles”—who enliven each musical refrain and reprise. Wisely OMP chose to include both males and females just as the original 1983 Broadway outing did, which makes it extra fun for the audience to try and guess “who is who and what is what”. They include Hunter Nelson as “Bitelle”, Brian Bolanos as “Chi-Chi”, Liandra Benoit as “Angelique”, Kady Lawson as “Odette”, Stephanie Zellhoefer as “Mercedes”, along with Matthew Rangel as the leather clad “Hanna From Hamburg”, Edvan Galvan as “Phaedra, The Enigma” and Jack Janowicz as “Chantal, The Song Bird Of Avignon”.

  In a bold move, they’ve situated the on-stage orchestra above all the action at the rear of the stage but elevated above it. The main back-drop for all the happenings is all in stunning pink, with several smaller set pieces arranged (or removed) to essentially indicate whether the undertakings are unfolding on the nightclub stage, behind the scenes, in “Georges” and “Albin’s” abode, or outdoors around the neighborhood. Likewise, Jon Hyrkas scintillating lighting designs aren’t to beat either! He too, puts a few tricks into his illumination scheme as with the swirling hot pink lighting effects that bathe the playing area at key intervals, or how the proscenium arch has been outfitted with light bulbs, to give that old-timey show ‘biz’ feel to the goings-on;  or, how it punctuates certain moments to give them enhanced impact, such as the sickly green light that M. Dindon is suddenly awash with the instant he discovers what he’s  involved in.

Of course, from a technical standpoint, “La Cage Aux Folles” is one musical that is practically defined by the strength and ingenuity of its costumes, wigs and make-up. Gloriously, with this understanding, Luis Cornejo’s sumptuous Costume Designs just could be worth running out for a ticket right away for this one. “Les Cagelles’” costumes alone are beyond-words incredible. (Take for example, “Phaedra’s” eye-popping watermelon green and pink gown, or “Hanna’s” jet-black leatherette ensemble!) Rocco Zappia, Special Make-up Designer for “Zaza”, has Mr. Lorton in full make-up right from his preliminary entrance (which ensues just prior to his “Put A Little More Mascara On”) which wisely (and expediently) saves the effort of having “Albin” transform into “Zaza” right before our eyes in only 16 bars of the song. This enables the energy being put where it’s most effective—into the song! Zappia’s efforts are in perfect sync with fellow make-up consultant George Robles who himself helped assure that the “Cagelles” don’t merely shine—they radiate! If there’s any disappointment though, it’s that “Les Cagelles” never take that one decisive opportunity (as with other versions) to doff their wigs at the shows’ completion, thus verifying once and for all: “Is She or Isn’t He?”

 Why wait until “summer is just a faded rose?” ‘The Best Of Times is NOW’ to see this “Bonanza, and Mad Extravaganza” of a musical! Having opened on Saturday, August 12^th, “La Cage Aux Folles” is slated to play through September 17th, 2023, at “The Gem Theatre”, located at 12852 Main Street, in Garden Grove, CA. Showtimes are Thursdays, Fridays & Saturdays at 8:00 PM, with Sunday Matinees at 2:00 PM. (There will be a special ‘talk back’ with the cast and creators immediately after the curtain calls on Friday August 25^th.) Special discounts are available for Seniors (65+) and Kids (12 and under), while “Student Rush” tickets are also available for Thursday and Friday performances (one ticket per valid Student ID.) For more information or to purchase tickets, call One More Productions at (714) 741-9550, or visit their website at www.theGEMoc.com . 

Production Photos by Ron Lyon www.ronlyonphoto.com Courtesy of “One More Productions” www.theGEMoc.com ; Special Thanks to Damien Lorton, Nicole Cassesso, Dan Baird, Shauna Bradford, Shoko Araki, Ron Lyon, Nick Bravo, and to the cast and crew of “One More Productions” 2023 Production of “La Cage Aux Folles” for making this story possible.