Graham Norton in La Cage Aux Folles Review
TV Presenter Takes on Albin's 'I Am What I Am'
Jan 28, 2009
It is the frequent theatregoer’s worst nightmare: a well received actor leaves their show only to be replaced by a TV star of dubious talent in a crass attempt to sell tickets. Such is sadly the case at the award winning production of La Cage Aux Folles, currently at the Playhouse Theatre in the West End.
The Production
Transferred from the intimate Menier Chocolate Factory, La Cage takes full advantage of the space and budgets allocated to a West End production and scales up beautifully. Tim Shortall’s sets are cozy and inviting while tastefully tacky, and even though Matthew Wright’s costumes are less glamourous than the original 1990’s production’s, they carry an authenticity previously lacking. The club scenes and cagelles look and act like true performers.
The Supporting Cast
Most of the current cast aside from Mr. Norton have been with the show either since its inception at the Chocolate Factory in 2007 or the West End transfer’s opening this autumn. A high standard of professionalism and warmth emanate from the ensemble including Nicholas Cunningham’s dominatrix Hanna and the power playing Dindon family (Iain Mitchell as the pigheaded father, Paula Wilcox as the trampled upon mother, and Alicia Davies as love interest and independent minded Anne.)
The supporting roles are also in safe hands: Stuart Neal is the appreciative yet embarrassed every-youth as Jean-Michele and Tracie Bennett makes for a sassy restaurant owner Jacqueline. The show-stealer, however, is Jason Pennycooke, who brings a Caribbean flair to the role of butler/maid/wannabe performer Jacob, making the best of a minimal role.
The Stars
And then there’s Mr. Norton. It would be nice to say that advance speculation and a woeful advance TV performance were the result of being underprepared or needing to grow into a role, but the negative press is unfortunately true, and patrons are best warned to stay away.
On the night attended, Mr. Norton seemed to be trying his best, but never truly coming together: his French pronunciation was poor, alternating between hard and soft Js for the same character names. Despite being a comedian, he many of the first act’s jokes and was awkward when interacting with a crowd during his club scenes, and there was little, if any emotional connection with Steven Pacey as longtime lover Georges.
Worst of all, Mr. Norton showed himself unable to sing the score, failing to stay on key or in time with the orchestra. The role of Albin is by no means one of the more difficult male parts in musical theatre (nor, admittedly, is it one of the easiest,) and while he may improve with time, it will not be enough to justify £60 tickets or erase the memory of his predecessor, Douglas Hodge.
