A timely revival of a musical as urgently topical as it is exuberantly chic

It’s 40 years since the musical set in the Côte d'Azur drag club of the title, and based on Jean Poiret’s Francophile farce, opened on Broadway, where it ran for four years. With book and lyrics by Harvey Fierstein (Torch Song Trilogy) and a wonderfully vivid score, by turns exuberant and poignant, and music by Jerry Herman (Hello Dolly!), La Cage aux Folles is as all-American as it is French. The first UK production in 1986 at the London Palladium ran for just 301 performances in the shadow of the AIDs crisis.

Much has changed since then, as logged in the programme’s timeline ("Towards LGBTQ+ Equality. 40 Years of Change") and an eloquent and heartfelt director’s note by Timothy Sheader. But, he warns, there’s no room for complacency, with "at least 12 (US) states currently considering drag bans, the first to pass into law was Tennessee in March".

Outdoors in Regent’s Park, as the vibrant overture begins, your eye is drawn to lush furnishings framed by red, purple and gold lamé curtains, before wandering to the ‘wings’ and ‘backstage’ area, filled with props such as glamorous wigs on stands, an easy chair and a parrot on a perch.

We are the audience at the outrageously chic St Tropez nightclub and here to welcome us and introduce his glamorous ‘gals’ is host Georges (warm Billy Carter). The line of high-kicking dancers of different shapes, sizes and genders – but all with legs up to there and clad in the spangliest figure-hugging bustiers – weave elaborate stage patterns. We're immediately drawn in as they sing the iconic anthem, ‘We Are What We Are’, cheering and clapping along.

Georges is the club owner/manager. His star attraction, drag queen extraordinaire Zaza (aka Albin, played by peerless Carl Mullaney) is also his devoted partner of many years. They live 'above the shop’, so the furniture and parrot are theirs and, in effect, they are the parents of Georges' 24-year-old son Jean-Michel (Ben Culleton), whom Albin loves to mother.

Their cosy family life is blown off course when Jean-Michel declares his love for (and engagement to) Sophie Pourret's Anne. She is the daughter of right-wing politician Edward Dindon (Craig Armstrong at this performance), leader of the Tradition, Family and Morality Party, who's known for his anti-gay views and is intent on closing down drag clubs. And now Jean-Michel’s future in-laws want to meet his parents…

Albin is horrified when Georges agrees to Jean-Michel’s request that Albin absent himself in favour of his ‘real’ mother, denouncing his husband as "Judas, traitor, heterosexual!". How the family, especially Georges and Albin, navigate this problematic territory is a story told with panache, bravado and verbal fireworks, plus all-singing, all-dancing spectacular stage pictures. It’s a backstage and onstage musical that never flags or shirks difficult issues. It’s hardly a spoiler to suggest that it all turns out well and just as the first act finished with ‘I Am What I Am’, sung defiantly by Albin, the final medley ends with ‘The Best of Times’.

The spectacular glamour is thanks to Ryan Dawson Laight’s costumes, Guy Common’s make-up, and choreography by Stephen Mear with Ebony Molina, all stunningly lit by Colin Richmond. Meanwhile, MD Ben van Tienen leads his 11-strong band from the keyboards with sparkling panache.

The show is a celebration of individuality. It's full of fun and razzle-dazzle and makes no apologies for doing so. As it should be. Everyone should enjoy a night at the fab establishment that is La Cage aux Folles.

By Judi Herman

Header photo by Mark Senior

La Cage aux Folles runs until Saturday 23 September. 7.45pm (Mon-Sat), 2.15pm (dates vary). From £25, under-18s from £12.50. Regent’s Park Open Air Theatre, London, NW1 4NU. openairtheatre.com