If you considered attending "La Cage Aux Folles" for the express purpose of seeing George Hamilton, don't bother. Once our curiosity is sated by a first glimpse of this laid-back icon, Hamilton becomes just another milquetoast Georges -- one of two central characters in this gaudy, serially successful musical farce. It's difficult to know whether Hamilton hasn't yet found his legs in the national tour that began just last week in Des Moines, or whether this is the Georges that director Terry Johnson wants.
Whatever, Hamilton exuded the charismatic flair of Bob Barker in this staging, which landed Tuesday at the State Theatre in Minneapolis. He seemed hemmed in by the demands of the character, a slightly worn-down owner/emcee of a notorious Riveria drag club. Only in the second act did Hamilton loosen up and enjoy the contours of Georges; unfortunately, the show itself turns into something of a precious farce at that point.
So, don't see "La Cage" for Hamilton's sake. But do see it -- run to see it, in fact -- for the brilliant performance of Christopher Sieber as Georges' flamboyant partner, Albin.
The plus-sized Sieber, who grew up in Forest Lake, Minn., fills his lungs with a very queer air and declares his dominion as the drag chanteuse who headlines revues at Georges' club. Writer Harvey Fierstein created Albin as a camp feast to be devoured, and Sieber digs in with both hands, alternately mincing, bellowing, vamping and mugging.
With a gesture, a glance, a glare or a dance, Sieber glides with almost unbelievable ease through the arc of a human who accepts that "I am my own special creation." His supple voice is never put to better use than the first-act closer, "I Am What I Am," which builds from wounded vulnerability to a shattering zenith of power. Sieber pulls off what we always wish to see in the theater: He creates a colossal character without ever seeming bigger than he needs to be in his performance. Granted, sometimes it needs to be big, but Sieber's beautifully imagined execution is always authentic.
When Sieber is not onstage, the Cagelles -- a rippling drag dance line -- grip our attention with a muscular and fierce choreography designed by Lynne Page. When neither the dancers nor Sieber is onstage, you might wish to rest your eyes. Jerry Herman's score rarely makes itself memorable, but most of his songs find just the right sentimental sweet spot.
"La Cage" tests the relationship between Georges and Albin. Partners for 20 years, they have a comfortable life ensconced in their nightclub. The plot is stirred when Georges' son, Jean-Michel (Billy Harrigan Tighe), announces his betrothal to the daughter of a politician who leads the Tradition, Family and Morality program (did someone say Tea Party?).
To assuage his future in-laws, Jean-Michel would like Albin to make himself scarce for the wedding. Albin, hurt at first, finagles his way back into action and almost makes everything work out. But come on, if it worked out, we wouldn't have a crazy comedy to spin out of control.
Johnson's production cannot stitch up the frayed flaws in Fierstein's script, and truth be told the finale fizzles rather than crackles. But "La Cage" was never intended as great literature. It was intended as a universe in which Albin can celebrate a rare existence. And how fun it is to look at all this and be able to honestly report that "Local Man Does Well." For that is what Christopher Sieber has done.
