Courtesy photo
La Cage blurs gender
roles, promotes diversity
The Tony award-winning
musical, based on a French
film, focuses on relationships,
appearances and tolerance
Ryan Bornheimer
Senior Pulse Reporter
Take a gay couple who run a
nightclub in St. Tropez — one with a
son conceived in a one-night stand
years before — and an impending
wedding with the daughter of a con
servative politician, and you’ve got
the makings of one of the most en
during and hilarious stories of the
past 25 years. And now, “La Gage
Aux Folles” has come to Eugene.
Based on the same source mate
rial as the original 1978 French
film and the 1996 U.S. version,
“The Birdcage,” the Tony award
winning musical is currently being
staged at Actors Cabaret of
Eugene. The show, which opened
Friday, will run through May 3.
“La Gage Aux Folles” is the
story of Albin and George, a cou
ple whose 20 years of domestic
tranquility are shattered when the
son they have raised together
decides to marry the daughter of a
high-profile politician. The pair
organize a comical sham in an
effort to convince the future
father-in-law that their living situ
ation is as normal as can be.
After acquiring rights to the
show late last summer, ACE’s cre
ative team spent the intervening
months purchasing costume fab
rics from New York and wigs from
Los Angeles, which may be one of
the reasons why the production
has become the most elaborate,
expensive show in the organiza
tion’s history.
Mounting the play, with music
and lyrics written by Jerry
Herman, has been a great chal
lenge, according to the creative
team at AGE. The cast of 18 per
formers includes women and
men, some of whom are dressed
in drag. Director Joe Zingo said
one of the most enjoyable
aspects of the production lies in
audience members guessing who
is who — or which is which. For
this reason, Zingo is reluctant to
reveal the casting secrets.
So far, audiences seem to be
stumped by the performers’
appearances.
“We had one woman come up to
us after the show and absolutely
refuse to believe that one of our
male performers was not a
woman,” Zingo said.
Producer Jim Roberts said this
inability to distinguish the male
performers from the women is
especially amazing considering
the intimate setting of the venue.
“As far as the drag make-up and
costumes, believability is tough in din
ner theater such as this,” Roberts said.
One reason the drag performers are
so convincing might be attributed to
the efforts of creative consultant Bob
Ollar. The AGE team brought in Ollar,
who spent 13 years in Aruba perform
ing as a female impersonator, to train
the actors in the ways of feminine be
havior, make-up and dress.
The production requires an in
tense level of commitment and pa
tience from the actors — getting
into their drag personas is a two
hour process.
Despite its farcical premise and out
landish design, Kevin Waltz, who por
trays Albin, said “La Gage Aux Folles”
deals with important social issues.
“La Gage is about relationships
and the work it takes to keep them
alive,” Waltz said in press material.
“It’s also about diversity, tolerance
and forgiveness.”
It seems audiences are responding.
According to Zingo, the show has
been an overwhelming success in its
opening days, receiving standing
ovations after every performance.
Tickets are available at the AGE
Box Office at 996 Willamette St. Regu
lar ticket prices are $17 in advance
and $22 on the day of the show, with a
limited number of senior and student
tickets available in advance for $14.
Student rush tickets are available 10
minutes before curtain for $10 with a
current identification card.
Contact the senior Pulse reporter
atryanbornheimer@daiIyemerald.com.
The Oregon Humanities Center
PRESENTS THE 2002-3
Colin Ruagh Thomas O’Fallon
Memorial Lecture
by
AVI SOIFER
BOSTON COLLEGE LAW SCHOOL
Disliking Like Cases:
Has Formal Equality
Become a
Solemn Mockery?
Thursday, April 3
7:30 p.m.
175 Knight law Center
University of Oregon
UNIVERSITY
OF OREGON
This lecture is free and open to the public.
For more information, or for disability accommodations, please call (541) 346-3934.
Music
continued from page 5
upright bass.
“March Waltz,” a Pelta com
position, “The Laundry Room,”
and the album’s title track, both
Tiller originals, are also note
worthy. In these duets, the two
have a musical unity unparal
leled, with each taking turns
soloing. It would be a crime to
allow Pelta’s downright right
eous solos to go unmentioned.
These are but a few highlights, but
in actuality, there really aren’t spe
cific standouts. The whole disc is
one sustained highlight. The best
The best music is
usually not
immediately visible,
and instead must be
sought after actively.
music is usually not immediately
visible, and instead must be sought
after actively. “Man Chasing
Woman,” is only available at per
formances and through the artists’
Web site, at davidenion.taarka.com.
Highest recommendation possible.
Contact the Pulse reporter
at aaronshakra@dailyemerald.com.
please recycle this paper!
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