A Combination That Works Like a Charm: My Best of Times at La Cage aux Folles, Part 3

So, I started this blog (mini) series about my experiences with the 2010-2011 revival of La Cage aux Folles nearly two years ago, (so sorry for the delay in posting!) chronicling my impressions and experiences with this fabulous production of this joyous musical, and through this show I’ve met many great friends at the stage door, and have become acquainted with a talented bunch of actors/dancers [I would not presume to state that I am really friends (in the truest sense of the word) with some of the actors I’ve met at the stage door, as I would not include myself in their private, off-stage life – there’s a fine line between being a fan and being friends with them – at best, I would think I am a good acquaintance, at least I hope so.] That being said, eventually after all the times I waited at the stage door, being noticed and acknowledged by name (earning the endearing moniker “Miss Jen”), I eventually mentioned the possibility of a backstage tour – the topic first brought up sometime in September – someone (I don’t recall who) when learning of my consistent visits to the stage door after every show (always managing to secure the same spot) mentioned that such devotion should earn me a backstage tour. Luckily, Matt Anctil heard this remark and gladly offered to show me (and whoever else wanted to come along) around backstage, which was an extremely sweet gesture.

La Cage marquee_night

As fall turned into winter, and as the weather turned colder (with intermittent bursts of snow, though nothing like the consistent snowfall endured this winter 2015), my quasi-regular visits to the Longacre continued, mainly obtaining my tickets via the TKTS booth, though I did splurge (a few times) on the premium cabaret seating. It was also during this time I took up Matt’s kind gesture and arranged for a backstage tour of the set, which I had done twice, the only times I did not stage door after the show – yes, even in the cold, snowy weather, I patiently waited at the stage door. It was fascinating to see all the props, costumes and sets up close, as well as stand on the stage to see the vantage point the cast see during every performance, though it is quite awe-inspiring to be standing on a Broadway stage at all. While the cabaret seating (briefly mentioned in previous posts) was at the top premium price ($250), it was well worth it. As the setting for La Cage is at a night club in San Tropez, naturally cabaret tables were situated near the stage, with ample opportunity for the cast to interact with those few audience members at various points in the show, resulting in a very unique experience, especially during the titular song.

A view of the cabaret seats from the stage

A view of the cabaret seats from the stage

Along with the change in season, there was a significant change in cast, as it was announced that Douglas Hodge, Kelsey Grammer, Robin De Jesus and Fred Applegate would play their final performance on February 13th (which fell on a Sunday). Naturally, I planned on attending not only their final performance, but (in a quasi mad, impulsive move) also both the Saturday matinee and evening performances – a triple play, so to speak. Anyway, it was one of the rare(ish) times I bought tickets in advance (as I usually buy tickets at TKTS) – luckily I was able to purchase a cabaret seat for their final performance roughly a month prior. More specifically, bought [without any hesitation] during intermission when I attended the show on my birthday. At this point of my “La Caging” (as my co-workers took to calling my frequent visits to the Longacre), I’d taken to seeing the show (almost) every weekend, often inviting friends to join me (if only to “explain” my acute fixation with the show and its fabulously talented cast). More times than not, we would arrive at the theatre early to meet Lili Whiteass (Todd Lattimore) and marvel at her pre-show couture, which was different (and usually weather-appropriate). It was always a joy to see Lili out there, spreading her own unique brand of hilarity to unsuspecting theatergoers.

Lili Winter 2010-2011

[Brief interlude: The Monday before his final performance weekend, Doug played a gig at the famed Birdland jazz club, performing most of his own songs, and covering others. Alongside being a fantastic actor, he also writes his own songs (two of this albums are available on iTunes), plays the guitar and piano. A few of the La Cage cast members also attended the performance and when they spotted me, inquired whether or not I’d still see the show once Doug and Kelsey left, to which I reassured that I would most certainly continue my frequent visits to the Longacre. Even on their designated night off, it was lovely to see them supporting their fellow cast member in his own independent endeavor.]

Back to (the first of) my weekend extravaganza of “La Caging” – I arrive at the Longacre early (by now I’m pretty adept at figuring out almost exactly when and from which direction most of the cast arrive) and happily greet the handful of cast members I see, letting them know I’d be attending the entire weekend of performances. Roughly about an hour and a half before show time, Doug arrives in an SUV and upon seeing me loitering waiting outside the stage door, greets me with a sweet “Hello, dahling”, (at which I internally giggled), then starts to unload boxes from the trunk – gifts for the cast. Naturally I offer to help carry some of the boxes to the stage door, to which he declined though he thanked me for offering. Later on, as theatergoers started to gather outside, another car pulls up to the stage door and Kelsey Grammer steps out of the car. Of course, there’s a buzz of excitement from those waiting in line near the stage door area – after all, Kelsey is best known for his role as the titular character in Frasier. Many of them attempt to attract his attention in the short distance from the car to the stage door entrance, of which he disregards (as he’s arrived at the theatre 30 minutes before show time, which is the latest an actor can arrive); however when he spies me loitering waiting by the stage door, he pauses to greet me (and pats my arm) then proceeds through the stage door. I barely noticed the looks of wonderment from those aforementioned people.

cast list_winter

The show was amazing, as always and I stood in my customary spot at the stage door, amid the usual throng of fans, and spotted some famous faces entering and exiting the stage door (among them, Alan Cumming, Jerry Stiller and Lin-Manuel Miranda). In the intervening hours in between the matinee and evening performance, I wandered about quasi-aimlessly then made my way to a nearby Thai restaurant, where I met three of my out-of-town friends for dinner before heading back to the Longacre to “introduce” Lili to my friends. Another fantastic performance, with thunderous applause and laughter throughout, and once more I sped to “my spot” at the stage door, with my friends in tow. As my “spot” at the stage door is on the left side closest to the door, I’m among the first bunch of people the cast see upon exiting, and it’s great to see them all, chat with them a bit and generally have loads of fun whilst signing playbills and such.

Clockwise from top left: Douglas Hodge, Kelsey Grammer, Terry Lavell & Nick Cunningham

Clockwise from top left: Douglas Hodge, Kelsey Grammer, Terry Lavell & Nick Cunningham

Onward to Sunday: as it was Doug and Kelsey’s final performance, I (quasi-impulsively) decided to buy them both a bouquet of roses (red tipped yellow for Doug, blue for Kelsey) – it was also a pricy purchase, as their final performance was the day before Valentine’s Day, but nevertheless it was a splurge worth taking. A good number of “Cagettes” (the affectionate name suggested by Matt for those few who consistently see the show and wait at the stage door) attended, some travelling from all parts of the world, to be at this performance. As customary for any actor’s final performance, their entrance garnered massive applause, cheering and standing ovations. After the overture, Kelsey is the first to come out, and not surprisingly, the house rose to their feet with applause and cheers, which moved him to tears, stopping the show for a few minutes in order for him to collect himself to continue. When it came time for Doug to enter the stage, another eruption of applause and cheers arose, though the ovations started before he actually stepped onto the stage (as his first lines are delivered off stage before entering to the usual applause). Once he did walk on to the stage, the applause was deafening, and moved him (and the audience) to tears, effectively stopping the show again. The show proceeded as it usually did, with the usual level of applause and laughter, until “With Anne on My Arm” when a teary-eyed A. J. Shively (Jean-Michel) was overcome with emotion as the song winded down, at which point the show paused for a few minutes again. There was a wealth of added emotion throughout the show, which happens during cast members’ final performance, and I find it astounding how they can (usually) keep their personal emotions in check while remaining in character.

Every song, every comedic zinger met with great applause and laughter, and the standing ovation for Doug’s final “I Am What I Am” surely shook the building. The next poignant moment during their final performance came (appropriately) during “The Best of Times”, a song that stated that “the best of times is now” – many of the cast onstage were moved to tears at the sentiment the song held. During the section when Doug serenades a part of the song to the (lucky) audience member sitting at the right side cabaret table (which always happens), one of the Twins (I don’t recall their names, but they’re frequent attendees) handed him a white rose and both embraced him (which [obviously] doesn’t always happen), which brought about a fresh batch of tears. How Doug was able to get through the rest of the song (and show, for that matter) is beyond me.

The final curtain call was another emotional experience, with the aforementioned twins tossing the remaining white roses onto the stage after the encore of “The Best of Times”, followed by Lili handing Doug and Kelsey bouquets of flowers. I was unable to obtain permission to approach the stage to hand them my roses, though I was able to relay them to Matt Anctil, who promised to hand them over to them. Though as a fairly good trade-off, I managed to take this rather candid (and utterly adorable) photo:

Doug final curtain call

A line of press photographers gathered near the front of the stage to capture Doug and Kelsey’s final speeches, wherein both expressed their gratitude and joy of having been in such a remarkable show about love, and the friendships they’ve made with the cast. The stage door experience was hectic and equally emotional, as everyone wanted to show their appreciation for the departing cast members – many of those who waited at the stage door came with gifts for them. I was teary-eyed throughout the show and afterwards; this emotional state was immediately heightened when Doug approached where I was waiting (this time I wasn’t at my usual “spot”), thanked me for the roses and gave me a bear hug when I managed to tell him that I’d miss him in the show. Much of the rest of the night was a blur, as I eventually left the Longacre both elated and saddened. Nevertheless, that performance was among the most emotional and heartfelt experiences I’ve had the privilege to attend.

The next (and final) installment will cover the arrival of replacement cast (and the brouhaha it caused), along with the second weekend extravaganza – the final three performances.

Finale roses on stage

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