By Kimberly Rau
Trinity Rep closes its 60th anniversary season with the glorious “La Cage Aux Folles,” a musical farce that showcases the importance, and power, of being true to yourself.
Directed by Taavon Gamble, Jerry Herman and Harvey Fierstein’s “La Cage Aux Folles” takes place in San Tropez, France. Georges runs a nightclub that features the gorgeous and talented drag queens Les Cagelles. They’re outshone only by Albin/Zaza, the star of the show and Georges’ longtime partner. But make no mistake, beneath the glamour and pageantry resides a very average couple, the sort who know each other too well at this point, whose version of flirting is more likely to be an argument about dinner than double entendre (though there’s plenty of that as well).
Then, dropped in the middle of all this queer hedonism, we have Jean-Michel, Georges’ heterosexual playboy son who has come home to announce his engagement, baffling his parents. Not that they aren’t supportive, but, as Georges notes, Jean-Michel falls in love the way some people change their socks. Alvin mostly seems confused with the heterosexuality of it all (“what will you talk about?” he implores of Jean-Michel), but Jean-Michel insists he’s found The One.
There’s just one problem: Anne, is wonderful, but her father is running for office on a highly conservative “family values” platform. And Jean-Michel would like nothing better than to pretend Alvin doesn’t exist when Anne’s family comes to town, a blindingly selfish request, even for someone so young and dumb. Nevertheless, the charade is entertained, though not without protest from Zaza, who closes Act 1 with the chilling, moving “I Am What I Am.”
And, of course, what’s done in the shadows must be brought to light, and the ruse doesn’t go off as hoped. Everyone’s true self is revealed, for better or worse, as Jean-Michel realizes that the parent he’s been trying to hide has been his biggest cheerleader the whole time.
It’s a powerful message, but “La Cage” is far from a preachy show. Gamble has his actors keep things light, while keeping in mind the nuance of the story. When things start to get intense, there’s a well-timed joke to take the edge off, or a return to the nightclub stage for another incredible number (hats off to Gamble, who also choreographed). The set itself, designed by Janie E. Howland, is marvelously immersive, including functional dressing areas off to the side, giving us a “backstage” look as the Cagelles get ready. And costume designer Olivera Gajic has gone above and beyond with every character in this gigantic show.
The cast itself is cohesive and awash with talent, with a strong mix of familiar actors and new (to Trinity) faces. C. Mingo Long makes his Trinity Rep debut as Albin/Zaza and is a force to be reckoned with. Long pairs exceptionally well with Stephen Thorne, who plays the more pragmatic Georges. When we first meet Zaza, she’s throwing a fit over some of Georges’ casting choices, and Long and Thorne interact as though they’ve actually been married for decades. Michael Jennings Mahoney is Jean-Michel. Mahoney is able to act so blindingly head-over-heels in love that you can (almost) excuse his atrociously thoughtless behavior in the first act, a fine line to walk for any actor. Brad Reinking makes his Trinity debut as Jacob, a melodramatic little thing more inclined to act like a saucy maid than anything so formal as the butler Georges thought he was hiring. Reinking’s ability to run with a bit makes him a joy to watch.
It seems unfair to single out any single Cagelle, but know that they are a true ensemble, with distinct characters and personalities and a whole lot of talent in those heeled tap shoes. Every dance number will leave you wanting more; every wardrobe piece is covetable; every character is fantastic. No matter who you watch, you’ll be impressed.
And, because there is always life outside the night club, a handful of smaller roles round out Georges and Albins’ universe, adding depth to the story and offering some of the funniest moments in the show. Jenna Lea Scott and Dereks Thomas double as both friends of the couple and Anne’s ultra-conservative parents (though Mama seems like she could let loose under the right circumstances), and Rachael Warren is the wacky but well-meaning owner of Chez Jacqueline, an exclusive restaurant that becomes the setting for the show’s climax.
No matter how you look at it, Trinity’s “La Cage” is a gift, wrapped in a beautiful dance numbers and sensational costumes, but at its core is about love, sacrifice, family (chosen and otherwise) and the importance of being uncompromisingly you. The truth, after all, will set you free.
It is what it is, and it’s magical.
“La Cage Aux Folles” runs through June 30, 2024, at the Trinity Repertory Company, 201 Washington St., Providence. Tickets may be obtained at the box office, online at trinityrep.com or by calling 401.351.4242.
