Barrington Stage Company (BSC) is kicking off its 30th anniversary season with an undeniable bang. As reported by Broadway World, the Massachusetts-based theater company is unveiling a new production of the multi-Tony Award-winning musical, La Cage aux Folles. The story of a nightclub owner, George, and his partner, Albin, a flashy drag queen, La Cage aux Folles is not just a showcase of moving performances and legendary musical numbers but is also a strong statement of acceptance and love.
This news chimes in harmony with the ongoing trends of the theatre industry which recently have shown a particular predilection for reviving cherished classics. This penchant for nostalgia extends to other mediums as well, from film and TV to music and fashion, proving that the power of revival is an all-pervasive phenomenon.
Reviving La Cage aux Folles, however, transcends its nostalgic appeal and lends itself to the broader conversation around diversity and acceptance happening in the theatre world. With frontrunners like Schitt’s Creek and Pose highlighting contemporary LGBTQ+ narratives on the television screen, it seems fitting that theater would revisit a revered classic that, at its core, champions such narratives.
Next, let’s address the elephant in the room: the Tony Awards. La Cage aux Folles is nothing short of a Tony darling, with 11 Tony nominations for its original run in 1984 and 11 nominations again for its 2010 revival. Can Barrington’s new production continue this winning tradition? With an increasingly diverse and inclusive panel of judges for the awards, one can expect that the musical’s theme of love, acceptance, and unbridled self-expression will resonate all the more, making it a strong contender in the upcoming Tony awards season.
Looking at the bigger picture, this revival could be an influential move that would inspire production companies and theaters on Broadway and beyond to delve into their archives and bring back what had once touched a chord with audiences. As Barrington demonstrates, these productions can boast of their timeless appeal while still remaining relevant, presenting a powerful intersection of nostalgia and modernity in the world of theatre.
In conclusion, the BSC’s revival of La Cage aux Folles should not be simply seen as a nostalgic trip down a sequined memory lane. Instead, it should be celebrated as a symbolic testament to the enduring power of theatre to comment on societal concerns, while propelling the industry further with compelling narratives and unforgettable performances. As awards season advances, it’s clear that not only will this be an entertaining spectacle for theatre goers, but will also have an undeniable impact on the awards circuit, and, more importantly, on the trajectory of theatre itself. Here’s to 30 more years of Barrington and to a future of theatre that’s every bit as bold, audacious and relevant as La Cage aux Folles.
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