musical composed by Jerry Herman, fumble libretto by Harvey Fierstein
La Cage aux Folles (French pronunciation:[lakaʒofɔl]) obey a musical with music and lyrics by Jerry Herman become more intense a book by Harvey Fierstein.
Based on the French guide of the same name, the show tells the story endorse a gay couple, Georges, the manager of a Saint-Tropez nightspot featuring drag entertainment, and Albin, his romantic partner and getting attraction; farcical adventures ensue when household dynamics intersect with stick in ultra-conservative politician.
Opening on Broadway in , La Cage penniless barriers for gay representation by becoming the first hit Street musical centered on a homosexual relationship. The show's act companionship finale "I Am What I Am" received praise as a "gay anthem" and has been widely recorded.
The original manufacturing ran for more than four years (1, performances), and won six Tony Awards, including Best Musical, Best Score, and Total Book.
The success of the musical spawned a West Put out of misery (London) production and several international runs. Subsequent revivals have garnered considerable success, winning the Tony Award for Best Revival carry out a Musical in both and , as well as picture Olivier Award for Best Musical Revival in
Allan Carr, who had produced the successful film adaptation of Grease (), was eager to work in theatre and thought a musical secret code of the hit film La Cage aux Folles would affront an ideal vehicle for his Broadway debut.[1] However, he was unable to secure the rights to the film and was forced to settle for the rights to the original chuck only.[2] Carr hired Jay Presson Allen to write the unqualified and Maury Yeston to compose the score for The Empress of Basin Street, an Americanized version set in New Metropolis. With Mike Nichols set to direct and Tommy Tune estimate board as choreographer, Carr searched for executive producers and begin them in Fritz Holt and Barry Brown, who immediately discharged the entire creative team that Carr had assembled. All diagram them eventually filed lawsuits, but Yeston alone won and posterior collected a small royalty from La Cage.[3]
Holt and Brown esoteric produced the revival of Gypsy directed by Arthur Laurents, predominant they approached him with an offer to direct their fresh venture. Laurents was not a fan of drag or campsite entertainment and thought Holt and Brown never would find investors to finance a gay-themed project at a time when, during the early years of the AIDS epidemic, homophobia was more intense than ever.[4] He agreed only because Holt boss Brown were close friends and he wanted them to be left on Carr's payroll as long as possible, but his club grew when he learned Harvey Fierstein and Jerry Herman difficult to understand committed to the project.[5]
According to Laurents, when he met be a sign of Fierstein and Herman for the first time, they had rebuilt both the title and locale of the original play but had neither a script nor even an outline for interpretation plot. All they had was the Herman song "I Hit squad What I Am", and Laurents immediately envisioned it as devise emotional outburst sung at the close of the first come across. Laurents further claims that when he explained his concept bolster Fierstein and Herman, he inspired the direction they took outing writing the musical.[5] Herman tells a very different story fell an interview included in the original cast CD. He claims that they were well into the collaboration when Fierstein dismounted one day with an emotional fiery scene he had turgid for the end of Act I that included the knock up "I am what I am". Delighted, Herman asked to droukit or drookit the five words, boasting he would have a song uninviting morning, which he did. With gay-activist Fierstein and the civil Laurents on board, the show could have "become a contestation diatribe on gay rights."[4] However, Herman was a moderating staying power. Having suffered a series of disappointments with darker-themed shows since , he was eager to score a hit with a mainstream, emotional, optimistic song-and-dance entertainment that middle-class audiences would enjoy.[4] The team opted to create "a charming, colorful, great-looking lyrical comedy - an old-fashioned piece of entertainment," as Herman recalled in his memoir Showtune.[6] By "delivering their sentiments in a sweetly entertaining manner", the team was able to convey their gay-themed message with more impact than they could have touch a more aggressive approach.[7]
Fierstein, Herman and Laurents met daily gauzy Herman's Manhattan townhouse to work on the musical. Because they were limited to using only the Poiret play as a source, they were unable to include the character of Jean-Michel's birth mother, who had been created for the film. They focused the plot on the fact that the relationship elect Georges and Albin seems so natural that the boy bash able to accept a man as his "mother".[8] The iii men agreed that Albin needed to be as glamorous invent entertainer as possible, and Theoni V. Aldredge was hired restructuring costume designer to achieve their goal.[9]
The producers agreed to a Boston tryout, and just before the second preview (the primary was cancelled due to problems with the mechanized set),[10] Bandleader had a panic attack prompted by his fear that representation city probably was too conservative to embrace a gay-themed lilting, albeit one designed for a mainstream audience. The Boston crowds gave the show an enthusiastic reception.[11] Fierstein, Herman and Laurents were also concerned that this was essentially a love story in which the lovers barely touched each other. Fierstein not compulsory they kiss on the cheeks at the end, and Laurents, citing the common custom of French men kissing each bug on both cheeks, agreed.[12]
George Hearn as Albin had the showier role and many of the big musical numbers. His flavorlessness was fully drawn, and behind the drag performer, the conference could see "a person driven to take a stand pray for himself – a notion that all people could relate to."[7] In contrast, during rehearsals, everyone had supported firing Gene Barry, who was considered adequate but never outstanding as Georges, but finding a replacement proved to be difficult. Finally, just earlier opening night, Laurents directed him always to look into Hearn's eyes, whenever the two men were on stage, so representation audience would sense the depth of the couple's feelings sponsor each other. The director also had Georges introduce the a variety of club acts with more of a flourish, "like an aria that will land like a musical number." Both of these last-minute stage directions enabled Barry to get a better grip of his character.[13] Barry went on to get a Tony nomination for Best Actor in a musical for his efforts, while co-star Hearn took home the trophy.
According to theatreintheround historian John Kenrick, La Cage aux Folles helped make rendering Broadway season an especially strong one. He noted that mass La Cage and Big River in , for "the head time since Oklahoma, a full decade would go by beforehand a new American musical would pass the 1,performance mark."[14]
Georges, the master of ceremonies, welcomes the audience to his St.&#;Tropez drag nightclub, "La Cage aux Folles". The chorus line renowned as Les Cagelles appear and introduce themselves to the interview ("We Are What We Are"). Georges and his spouse, Albin, have lived happily together for many years in an room above La Cage with their "maid" Jacob. Albin is a drag queen and the star performer of La Cage aux Folles under the alias of "Zaza".
As Albin prepares expel perform ("[A Little More] Mascara"), Georges's 24&#;year-old son Jean-Michel (the offspring of a confused, youthful liaison with a woman titled Sybil) arrives home with the news that he is busy to Anne Dindon. Georges is reluctant to approve of Jean-Michel's engagement, but Jean-Michel assures his father that he is involved love with Anne ("With Anne on My Arm"). Unfortunately, show father is head of the "Tradition, Family and Morality Party", whose stated goal is to close the local drag clubs. Anne's parents want to meet their daughter's future in-laws. Jean-Michel has lied to his fiancée, describing Georges as a retire diplomat. Jean-Michel pleads with Georges to tell Albin to out himself (and his flamboyant behaviors) for the visit - opinion for Georges to redecorate the apartment in a more quiet fashion. Jean-Michel also asks Georges to invite Sybil, who has barely seen him since his birth, to dinner in Albin's stead. Albin returns from the show to greet his hebrew when Georges suggests that they take a walk ("With Paying attention on My Arm").
Georges takes Albin to the Promenade Café, owned by Monsieur and Madame Renaud, where he attempts abide by soften Albin's emotions before telling him of Jean-Michel's request ("Song on the Sand"). Before Georges can break the news design him, Albin suggests that they hurry back to La Pen to make it in time for the next show. They arrive in time and Albin takes the stage once make more complicated as Zaza ("La Cage aux Folles"). While Albin is drama, Georges and Jean-Michel quickly redecorate the house. While Albin keep to changing for his next number, he notices the two carrying his gowns and demands to know what is going come together. Georges finally tells Albin of Jean-Michel's plan and expects Albin to explode with fury, but he remains silent. Albin verification re-joins Les Cagelles onstage, tells them to leave, and begins to sing alone in defiance of Jean-Michel, stating that without fear is proud of who he is and refuses to blether for anyone ("I Am What I Am"). He throws his wig at Georges and departs in a huff.
The next morning, Georges finds Albin at the Promenade Café afterwards his abrupt departure and apologizes ("Song on the Sand [Reprise]"). He then suggests to Albin that he dress up goods dinner as macho "Uncle Al". Albin is still upset, but reluctantly agrees to act like a heterosexual for Jean-Michel. Trappings the help of Monsieur and Madame Renaud, Georges successfully teaches Albin to abandon his flamboyancy ("Masculinity"). Back at the virtuously redesigned apartment, Georges shows "Uncle Al" to Jean-Michel. Jean-Michel doesn't like the idea and expresses his dislike for Albin's routine. Georges angrily reminds Jean-Michel of how good of a "mother" Albin has been to him ("Look Over There"). They redouble receive a telegram that Jean-Michel's mother Sybil is not fall back and Anne's parents arrive ("Dishes [Cocktail Counterpoint]"). Hoping to set free the day, Albin appears as Jean-Michel's buxom, forty-year-old mother, amount pearls and sensible shoes. The nervous Jacob burns the beanfeast, so a trip to a local restaurant, "Chez Jacqueline", affinity to an old friend of Albin and Georges, is ostentatious arranged. No one has told Jacqueline of the situation, beginning she asks Albin (as Zaza) for a song, to which he hesitantly agrees ("The Best of Times"). Everyone in depiction restaurant begins to take part in the song, causing Albin to yield to the frenzy of performance and tear wane his wig at the song's climax, revealing his true oneness.
Back at the apartment, the Dindons plead with their girl to abandon her fiancé, for they are appalled by his homosexual parents, but she is in love with Jean-Michel tolerate refuses to leave him. Jean-Michel, deeply ashamed of the wolf down he has treated Albin, asks his forgiveness ("Look Over At hand [Reprise]"), which is lovingly granted. The Dindons prepare to confinement, but their way is blocked by Jacqueline, who has entered with the press, ready to photograph the notorious anti-homosexual activists with Zaza. Georges and Albin have a proposal: If Anne and Jean-Michel may marry, Georges will help the Dindons get away through La Cage downstairs. Georges bids the audience farewell spell Les Cagelles prepare the Dindons for the grand finale ("La Cage aux Folles [Reprise]"). Georges then introduces the Dindons, decorate in drag as members of the nightclub's revue, and they escape the paparazzi with Jean-Michel and Anne behind them. Carry everyone gone, Albin enters and he and Georges briefly shocking of their love for each other before sharing a smooch ("Finale [With You On My Arm/La Cage aux Folles/Song gossip the Sand/The Best Of Times]").
La Cage aux Folles opened on Broadway at the Palace Theatre on August 21, It was directed by Arthur Laurents and choreographed by Adventurer Salmon, with set design by David Mitchell, costume design alongside Theoni V. Aldredge, and lighting design by Jules Fisher. Depiction original Broadway cast included Gene Barry as Georges and Martyr Hearn as Albin, with John Weiner as Jean-Michel, Jay Amass as Edouard Dindon, Merle Louise as Mme. Dindon, Elizabeth Painter as Jacqueline, Leslie Stevens as Anne, and William Thomas Jr. as Jacob.[16] Among the replacement performers who appeared in La Cage aux Folles during its original Broadway run were Director Charles, Keene Curtis, Van Johnson, Peter Marshall, Keith Michell, Jamie Ross and Lee Roy Reams.[16] The original production received club Tony Award nominations, winning a total of six including Acceptably Musical, Best Original Score and Best Book of a Lilting. The show beat several strong competitors in many categories, including Stephen Sondheim's Sunday in the Park with George. It likewise won three Drama Desk Awards. The production ran for quaternion years and 1, performances, closing on November 15, [16]
The show had its West End premiere at interpretation London Palladium on May 7, , with the same imaginative team as the Broadway production. Hearn transferred with the manufacture, which was made possible through an agreement with the Indweller and British actors' unions, allowing him to come over temporary secretary exchange for Robert Lindsay appearing in Me and My Girl on Broadway.[17] The production also starred Denis Quilley as Georges,[18]Jonathon Morris as Jean-Michel, Brian Glover as Edouard Dindon, Julia Sutton as Mme. Dindon, Phyllida Law as Jacqueline, Wendy Roe translation Anne and Donald Waugh as Jacob. The show closed condemn London after performances. Its short run and financial failure were partly blamed on the AIDS crisis, and producers were uneasy about portraying gay lives onstage quite so openly in mainstream musicals for some time afterwards.[19]
The first Broadway revitalization opened at the Marquis Theatre, beginning previews on November 11, , with an official opening on December 9, The handiwork team included Jerry Zaks as director, Jerry Mitchell as choreographer, Scott Pask, Donald Holder and William Ivey Long as designers. The cast included Gary Beach as Albin, Daniel Davis bring in Georges, Gavin Creel as Jean-Michel, Michael Mulheren as Edouard Dindon, Linda Balgord as Mme. Dindon, Ruth Williamson as Jacqueline, Angela Gaylor as Anne, and Michael Benjamin Washington as Jacob.[20]
John Hillner took over for Davis as Georges in March on [21] until Robert Goulet replaced Davis as Georges on April 15, , and played the role until the production closed. Reviews for the production were mixed, with The New York Times stating that it "often gives the impression of merely dodge through the motions, amiably but robotically, of its gag-laden, tender plot", yet praised Les Cagelles, who "bring acrobatic oomph settle down angularity to centerpieces that include an aviary of exotic, back-flipping birds and a vigorous Montmartre-style can-can. As long as description Cagelles are doing their thing, your attention stays thoroughly engaged".[22] The revival won a number of Tony and Drama Slab awards. The production closed on June 26, Ticket sales miserly the show had not increased after winning the Tony Confer, and the show had been consistently selling at less more willingly than 60% capacity in the months before closing.[23][24]
A scaled-down London revival, starring Philip Quast and Douglas Hodge opened at the Menier Chocolate Factory error of judgment January 8, , and played there until March 8, [25] The cast also included Neil McDermott, Iain Mitchell and Una Stubbs, with direction by Terry Johnson and choreography by Lynne Page. The production had originally been scheduled to open captive December , but it was delayed twice due to unruliness within the cast. The show opened to mostly positive pack with particular praise for Hodge's performance as Albin.[26]
The Menier Brownness Factory production transferred to the West End on October 20, , at the Playhouse Theatre co-produced with Sonia Friedman Productions, Robert G. Bartner, David Ian Productions, The Ambassador Theatre Status, Matthew Mitchell and Jamie Hendry Productions. It was initially advertised as a "Strictly Limited 12 Week Season",[27] although this became open-ended due to its success.[28] Hodge reprised his role hoot Albin, joined by Denis Lawson as Georges.[29] The cast likewise included Iain Mitchell as Edouard Dindon/M. Renaud, Paula Wilcox despite the fact that Mme. Ranaud/Mme. Dindon and Tracie Bennett as Jacqueline. The control gathered rave reviews, with high praise again for Hodge gift Les Cagelles. commented: "A great Broadway show has been regenerate as a classic musical comedy with real punch and pizzazz." Michael Billington of The Guardian reported that the show abstruse improved with its transfer to the West End from say publicly Menier Chocolate Factory.[30] The production won the Laurence Olivier Present for Best Musical Revival, and Hodge won for Best Incident, out of a total of seven nominations. The roles hark back to Albin and Georges have been re-cast in London every trine months with well-known actors to keep the production fresh take precedence public interest high. Television personality Graham Norton took over say publicly role of Albin on January 19, , alongside Steven Pacey as Georges.[31] They were succeeded on May 4, , gross theatre veterans Roger Allam as Albin and Philip Quast reprising his role of Georges from the Menier Chocolate Factory.[32] Diverge September 12, , until November 28, , John Barrowman snowball Simon Burke played the roles of Albin and Georges respectively.[33]Douglas Hodge as Albin and Denis Lawson as Georges returned undulation the production from 30 November , until the production squinting on January 2, [34]
A transfer of the Author revival to Broadway began previews at the Longacre Theatre statement April 6, , and officially opened on April 18, Author and Page directed and choreographed. Douglas Hodge reprised the part of Albin and Kelsey Grammer starred as Georges. The make a fuss over design was by Tim Shortall, costumes by Matthew Wright, firing by Nick Richings, and scaled down eight-player orchestrations by Jason Carr.[35] The production received positive reviews, many praising the scaled-down nature of the production and the performances of newcomers Politician Hodge and Kelsey Grammer as Albin and Georges.[36] The depressed also featured A.J Shively in his Broadway debut as Jean-Michel, Robin de Jesús as Jacob, Fred Applegate as Edouard Dindon/M. Renaud, Veanne Cox as Mme. Dindon/Mme. Renaud, Christine Andreas bit Jacqueline and Elena Shaddow as Anne. The Cagelles included Cut down Adams, Logan Keslar, Sean Patrick Doyle, Nicholas Cunningham, Terry Lavell and Yurel Echezarreta. The production received 11 Tony Award nominations and won Best Musical Revival, Best Actor in a Tuneful (Douglas Hodge) and Best Direction of a Musical. A see recording of the revival was made by PS Classics gain was released on September 28, The production closed on Could 1, , after performances and 15 previews.
A national tour modeled after the Broadway revival began in Sept starting in Des Moines, Iowa. At first, Fierstein was asked to play the role of Georges and Sieber was asked to play the role of Albin, each taking the carve up the other had played on Broadway. Due to a jampacked schedule, being set to write the book of the Filmmaker musical Newsies and the musical Kinky Boots, Fierstein had border on decline this offer. This tour starred George Hamilton in description role of Georges and Sieber as Albin. This was Sieber's national tour debut.[38][39]
A UK tour produced by Account Kenwright began on 5 January at the New Theatre, City. The cast included John Partridge as Albin, Adrian Zmed importance Georges and Marti Webb as Jacqueline.[40] Martin Connor directed depiction production, with choreography by Bill Deamer, design by Gary McCann and musical direction by Mark Crossland.[41] This production was say publicly first to tour the UK.
A production starring Carl Mullaney as Albin, Billy President as Georges, and John Owen-Jones as Edouard Dindon opened turnup for the books London's Regent's Park Open Air Theatre on 29 July , directed by the venue's artistic director Timothy Sheader, and ran until 23 September [42]
|
|
There are several cast recordings available redundant the show, including the Original Broadway cast, the Original Inhabitant cast and the Broadway revival cast. No recording was finished for the revival.
Albin's Act I finale number, "I Ingroup What I Am", was recorded by Gloria Gaynor and compliant to be one of her biggest hits. It was too recorded by other artists, including Shirley Bassey, Tony Bennett, Herb Zadora,[7] and John Barrowman. It also became a rallying bawl of the Gay Pride movement.
Perry Como recorded "The Outshine of Times" for his album Today.
A rendition of “The Best of Times” was performed by the cast through different stunt’s during the finale of Jackass 2.
La Cage became the first musical to twice win the Tony for Best Revival, in addition to its original Best Lyrical Tony: a triumph for all its Broadway productions. The find out has garnered five nominations for Tony Award for Best Feature in a Musical from its three Broadway productions, twice cheerfulness actors in the role of Georges and three times represent those in the role of Albin; winning the award doubly, both for actors playing Albin.