Like
most mid-sized cities, Rochester only has one professional regional theater. Geva Theatre Center is a member of the League of Resident
Theatres, which has just 75 theaters in 30 states. Others in town, like
Rochester Broadway Theatre League, bring in professional touring shows from big
cities, and still others, like Blackfriars, sometimes
use professional cast and crew members. But Geva is
the only theater using both equity cast and crew and an in-house staff to build
and execute each production. Understandably, that raises the standard for Geva’s seasons each year.
For
the past 25 years as artistic director, Mark Cuddy has been perfecting the art
of choosing the Geva Theatre Center season. He and
his team have honed in on audience favorites, found trusted collaborators, and
created and commissioned new works. In the past few years, especially, they’ve
met with great success.
The
2019-2020 season — Cuddy’s 25th anniversary season — begins with a show rarely performed
on Rochester stages. “La Cage Aux Folles” is the story of a gay couple who owns
a drag nightclub in 1980’s St. Tropez. When the son of manager Georges (played
by Cuddy himself) announces he’s engaged to the daughter of France’s most
conservative politician, Georges and his partner, who is also the nightclub’s
star, Albin (Danny Vaccaro), strive to keep up appearances for their son’s sake
(naturally, chaos ensues).
“La
Cage Aux Folles” translates to “The Cage of Mad Women” and is based on a 1973
French play of the same name; it also inspired the 1996 film “The Birdcage.”
When it opened on Broadway in 1983, it received nine Tony Award nominations and
won six, including Best Musical. At its core, it’s flashy, an undeniably fun
night out — albeit difficult to pull off without a talented male cast.
Fortunately,
Geva’s cast is more than equipped to handle the
high-heeled, leather- and feather-filled dance numbers. The six Les Cagelles — Donovan Hoffer, Kyle DuPree,
Joseph Tudor, Sam Tanabe, Giovanni Da Silva, and Matthew Tiberi
— not only impress with their dance moves and drag characters, but sing numbers
like “We Are What We Are” in soaring harmony. In the role of “butler” Jacob,
Kevin Curtis provides standout comic relief, with spot-on timing and physical
movement. As the nightclub’s stage manager, Michael RJ Campbell delivers
unexpected pops of humor. Rochester-based cast member Esther Winter, who plays
high-maintenance restaurateur Jacqueline, also steals her share of the
evening’s spotlight with audience laughs and a fantastic purple dress.
Cuddy
leads the cast (his second role in the past two seasons, following 2018’s
“Heartland”) as Georges, and his acting is impressive for someone who spends
most of his time on the other side of the stage. But his showmanship comes
naturally (perhaps proving that those who teach, can do?). His dancing is
fluid, and most of his vocals are passable, though there are a few hiccups with
range and pitch in the second act.
Opposite
him is Vaccaro, a seasoned La Cage performer who was in the 2011 Tony
Award-winning production. Vaccaro is poignant in the role of the
sensitive Albin, and he brought the audience to tears, laughter, and even a
standing ovation just before intermission with the moving number “I Am What I
Am.”
As
Jean-Michel, son to Georges and Albin, Michael Evan Williams depicts a
bright-eyed, earnest, and thoroughly charming character. Even his selfishness
is forgivable as he sings through “With Anne on My Arm.”
Director
Melissa Rain Anderson (who for the past several years has directed the popular
season-opener musicals) guides the cast in an energetic, interactive
two-and-a-half hours (including intermission). Choreographer Sam Hay
capitalizes on the elaborate costumes by Kevin Copenhaver to create showman
numbers. (The usual tap dancing is downplayed in this production.) Musical
Director Don Kot and his seven-piece band are tucked
away in the pit, but play an important unseen (and oft
humorous) role as the band, both literally and for the fictional nightclub.
Multi-dimensional, colorful scenic design by Adam Koch lends itself to several
locations.
In
a city the size of Rochester, many things must be considered when choosing a
theatrical season. Ticket sales are important for everyday operations, but as
the sole LORT theater in town, Geva
is also held to standards of experimentation, entertainment, and even
spectacle. “La Cage Aux Folles” has plenty of moments where it hits on these
factors, but Cuddy’s charm has to carry where raw ability fails. Cuddy, of
course, isn’t there (solely) for his talent, but to delight the masses who’ve
been supporting Geva for years. And if there’s
anything Rochester loves, it’s a hometown hero.
This article appears in Sep 11-17, 2019.
