LA CAGE AUX FOLLES A REVIEW
by David “Doc” DeMulle’
Alright, let’s talk about Pasadena Playhouse’s take on La Cage Aux Folles. They went for a “reimagined” vibe, but honestly? It feels like they tried too hard to fix something that wasn’t broken. Sometimes, less is more, you know?
The show kicks off with an overture that shows the entire cast—including Albin—before the story even gets going. Bad move. Part of the fun of La Cage is waiting for the big reveals, and this opening completely kills that vibe. Kevin Cahoon, who plays Albin, doesn’t even get the applause he deserves for his entrance because, well, we already saw him hanging out on stage earlier.
Throughout the performance, it felt like the cast was bogged down by over-the-top costumes and props. Instead of dazzling us, the drag performances came off as a little… meh. Then there’s Salina EsTitties. If you’ve ever seen her perform at a place like Precinct, you know she’s a force—polished, dynamic, and magnetic. She gives it her all here, but it makes the rest of the drag numbers look amateurish by comparison. Honestly, they should’ve brought in more local drag stars to give the show the edge it needed.
Cheyenne Jackson as Georges is… an interesting choice. Don’t get me wrong—he’s got a killer voice and looks fantastic—but he’s a little too young and polished for the role. Georges is supposed to be a bit older and wistful, especially in songs like “Song on the Sand.” Instead, Jackson comes off like a leading man in his prime, which makes it harder to buy into the love story at the heart of the show.
Then there’s Kevin Cahoon as Albin. He’s clearly putting his heart into it, but his version of Albin is way too over-the-top and cartoony. And when it comes to the big Act I closer, “I Am What I Am,” it just doesn’t land the way it should. That moment is supposed to stop you in your tracks, but the clownish costume he’s wearing—complete with ridiculous tearaway green bows—makes it hard to take seriously. It’s a shame because you can tell Cahoon has the chops for it if the direction hadn’t been so extra.
That said, there are some bright spots. George Salazar as Jacob, the maid, is hilarious—he nails every joke. Ryan J. Haddad and Shannon Purser, as the young couple, are sweet and charming, and you can’t help but root for them. And Shea Diamond as Jacqueline? She’s an absolute powerhouse and lights up the stage every time she’s on it.
The thing is, La Cage Aux Folles doesn’t need a big reimagining. Unlike other old-school musicals, it’s aged beautifully. Harvey Fierstein’s book is already heartfelt, funny, and sharp. It doesn’t need to be “revamped” or “modernized” because it still works just the way it is. I almost felt guilty faulting the storyline as I was tapping my feet and laughing- It was really great with a few exceptions.
Danny Feldman, the Playhouse’s Producing Artistic Director, seems pretty proud of how they’ve been putting a new spin on classic shows, and hey, sometimes that’s great. But with La Cage, all the extra gimmicks and reworking just got in the way. Somewhere under all the bells and whistles is a great production waiting to happen, but this version doesn’t quite hit the mark.
At the end of the day, we need La Cage Aux Folles right now more than ever—a show that reminds us to celebrate love, joy, and being unapologetically ourselves.
Running from now to December 15, 2024 at the Pasadena Playhouse, 39 South El Molino Ave. Pasadena, CA 91101. Tickets can be bought on line at: Pasadenaplayhouse.org or by phone at 626.356.7529. Tickets start at $44. Performance schedule: Tuesday, Wednesday and Friday evenings at 8:00 p.m. Thursdays at 7:00 p.m. Please call for confirmation of dates.