Outside Baltimore's historic Hippodrome Theatre, the marquee advertises the musical La Cage Aux Folles starring George Hamilton and Christopher Sieber. I understood having well-known Hamilton's name "up in lights" but Christopher Sieber? I doubt that many in the audience (except the critics) were aware of this talented actor.
It was fifteen years ago, in 1996, that I first became acquainted with Sieber who was in the World Premiere of Triumph of Love at Center Stage. I then saw him again as he made his Broadway debut in the musical. I saw again in the hit Broadway musical Spamalot.
But I have never seen the two-time Tony Award nominee take over a musical as he does in the Jerry Herman musical La Cage Aux Folles. The recent slimmed-down Menier Chocolate Factory production from London won the 2010 Tony Award for Best Revival of a Musical. Siebert replaced Jeffrey Tambor as "George" opposite Harvey Fierstein.
Now Siebert gets the opportunity to play "George". This is a big departure from playing on his knees in Shrek. And Sieber makes the most of it. He amazed the Baltimore audience with his incredible vocal prowess.
For those unfamiliar with the story, it concerns a French cabaret theatre owned by Georges (George Hamilton) and his partner Albin (Siebert) who loves to play chanteuse Zaza in drag. All hell then breaks lose when George's son Jean-Michel (Billy Harrigan Tighe) informs Georges and Alban that his future in-laws were coming to visit.
The melodious Jerry Herman score is packed with songs that you'll hum leaving the theater and Siebert has his share. One immediately observes his vocal acumen in the duets "A Little More Mascara" and "With You on My Arm". Then he sings the momentous "La Cage Aux Folles". But he brings the house down during the anthem-like "I Am What I Am" to close Act I.
For some strange reason, Herman doesn't give Albin much to sing in Act II except the first two numbers, the reprise "Song on the Sand" (with Georges) and the hysterical "Masculinity". But Sieber's comedic ability shines throughout.
The problem this revival has is George Hamilton playing Georges who has the misfortune of singing duets with Sieber. He neither has the chops, acting ability (he scrambled many lines) nor voice to keep up with Sieber. Sometimes you couldn't hear the lyrics when he sang and he seemed to stumble remembering some lyrics. He had no energy and seemed stiff and fragile. When he left the stage, it appeared he was floating. His attempts at dancing were feeble. Add to this the mistaken placement of his microphone so obviously high on his forehead, it looked like a serpent from an Egyptian empress.
But Sieber and the wonderful "Cagelles" more than made up for Hamilton's ineptitude. One of the "Cagelles", "Mercedes", is played by Terry Lavell who was so superb in the Center Stage production of The Boys from Syracuse.
There is no orchestra pit (which means more seats for the audience). You can see musicians split on the each sides of the stage in balconies. The program lists only four (of the eight musicians)including Musical Director/Synthesizer Joey Chancey. I truly missed having no strings. There were 25 musicians in the original Broadway production.
La Cage ends its short run Sunday. Tickets are available at the Hippodrome Box Office and through Ticketmaster. If you miss it, the musical is coming to the Kennedy Center and will play the Eisenhower Theatre January 17 to February 12, 2012. It will also be playing at the Dupont in Wilmington, DE March 6-11, 2012.
Visit www.lacage.com.
Next coming to the Hippodrome is The Lion King beginning December 7, 2011.
