By Liz Eichler
La Cage aux Folles is a love story. Not simply the new and romantic kind, but the kind that survives. It is also a love story about your craft—and about the loyal audiences who keep coming back.
The Carnegie’s La Cage aux Folles is a musical with a great deal of humor and heart. It will leave you feeling warm and fuzzy—or perhaps feathered—and makes for a terrific date night for anyone open to a story about two men who love each other very much.
The Plot
Based on the play by Jean Poiret, with a book by Harvey Fierstein and music and lyrics by Jerry Herman, La Cage aux Folles follows Georges (Kevin Kelly), the owner and master of ceremonies of a nightclub in Saint-Tropez, and his longtime partner, Albin (Josh Walden), the club’s headlining diva, known onstage as Zaza.
Their comfortable life is disrupted when Georges’ son, Jean-Michel (Jack Haroutunian), announces that he plans to marry Anne (Arden Allmon), the daughter of a fiercely conservative political figure. Jean-Michel wants his future in-laws to meet a conventional, heterosexual family. His solution? Hide Albin, pretend Georges is straight, and bring in Jean-Michel’s estranged biological mother to play the role of his mother.
It is an old-fashioned comic setup, but the show’s emotional center is considerably richer. Biology, after all, isn’t what makes a parent. It is the person who is there through sickness and health, long days and sleepless nights.
Attention to the Details
Director Rachel Stevens understands that the heart of the show is in these relationships. She underscores them through small, meaningful details, making the characters believable even when their circumstances become increasingly outlandish. Everyone gets to be funny, but no one is merely a punchline.
One lovely example comes when Georges and Albin are at a café. Albin is concerned about Georges’ public display of affection—not because he dislikes it, but because they are in a public space and Albin is always aware of his potential audience. After the number “With You on My Arm” Georges comments, “Albin, after all this time you are still such a surprise” with such admiration. Sigh. Wouldn’t you want to be in a relationship like that?
Strong Performances Throughout
Walden is fantastic as Albin, clearly knowing him and his diva Zaza inside and out. Walden brings warmth when needed and goes gloriously over the top when the moment calls for it. I got goosebumps during “I Am What I Am,” a song that has become an anthem of self-acceptance but here feels like something deeper. We witness a revelation in real time, a core “aha” moment for Albin.
As choreographer, Walden gives the Cagelles moves full of drama and flirtation, a physical conversation with the audience “Watch me! No, go away!” CCM student J. Perry, sitting next to me, summed it up: Walden’s choreography is “clearly coming from the mind of Albin.”
Haroutunian’s Jean-Michel provides a good counterbalance to the spectacle. He is earnest and clearly in love with Anne, while also being a 24-year-old who is misguided about what it will take to impress her parents. His affection for Georges is genuine, even when his behavior is frustrating. Haroutunian has the singing voice to deliver Herman’s score.
Max Cadillac has a ball as everybody’s favorite over-the-top Latino butler, Jacob, providing plenty of laughs while remaining an effective part of the ensemble. Brittany “Harmony” Hayes brings sparkling energy to Jacqueline, while Denton Yockey and Sarah Folsom, as the Dindons, provide both tension and hilarity as the story barrels toward its conclusion.
Way Wagoner, Connor Austin, Sheldon Mba, Benji Godley-Fisher, Zach “Zoo” Finkelstein and Zay Tucker seem to understand exactly how much the audience wants to see them as the Cagelles. A lifted skirt, a wink, or perfectly timed bent knee has the audience in the palm of their hands.
The Show Actually Begins Before the Show
The pre-show experience, staged in the gallery by Eric Byrd, is a reason to arrive early. Grab a drink, step into one of the cabanas and watch the Life Guards and Caftan Queens dance their way into the evening. There is even a pre-show limbo contest for those willing to participate.
Then, when we enter the theater, Sean Miller Jones appears in one of his many roles, this time as the Stage Manager, calling cues. And the show begins.
Setting the Tone
The design leans into that Saint-Tropez spirit, coupled with some glitz. John Faas’ costumes use soft salmons and teals in the first act, intensifying as the story progresses. Some gowns are skin-tight; the sparkling bodysuits are even more revealing, showing off—or covering—curves and bumps as needed. The opening French gowns with umbrellas and hats are chef’s kiss. Wigs by Kora Sline and Candace Leyland complete the transformations.
Tyler Gabbard’s set places us firmly inside the world of show business: bulbs surround the stage, while makeup tables and dressing-room doors remain throughout. Rich burgundy, bronze and dark teal create a “slightly ’40s, and a little bit New Wave” feel. The Cagelles handle many of the set changes, pulling pieces on and offstage with enough character that some transitions earn applause.
Julie Cowger’s lighting is bold, flashy and colorful, extending from the top level where the band is housed into the audience as characters make entrances and exits.
Musical Director Jacob Priddy keeps Herman’s score moving long with his eight-piece band, while Dani Lobello’s sound design is crisp and clear. Every syllable of the show can be heard. Stage Manager Shauna Nelson keeps the show running smoothly.
Overall
La Cage has a satisfying amount of spectacle—sparkles, wigs, dancing, nightclub lighting–and some memorable music. But washing that away, is a story about people who have built a life together and aren’t ready to give it up just because someone else thinks it doesn’t look the way a family is supposed to look.
What better way to spend a summer evening than with a little love, some cheeky jokes, a lot of feathers and a reminder that the family you build is the family that matters most?
La Cage aux Folles runs through August 23, 2026, at the Carnegie. Tickets are available at thecarnegie.com.
Run time is approximately 2 hours and 40 minutes, including a 20-minute intermission.
La Cage aux Folles contains mature themes and language, including discussions of suicide, drugs and alcohol, violence, and sexual content.
