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La Cage aux Folles

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Editorial Reviews

All Music Guide - William Ruhlmann
For songwriter Jerry Herman, the challenge of a new Broadway musical is to find a fresh way to frame his admittedly old-fashioned, show biz approach to creating traditional entertainment. Through three consecutive flops, Dear World (1969), Mack & Mabel (1974), and The Grand Tour (1979), after his two massive hits Hello, Dolly! (1964) and Mame (1966), Herman failed in that endeavor, meanwhile watching rivals Stephen Sondheim perfect the "concept" musical and Andrew Lloyd Webber the rock musical. But with La Cage aux Folles, Herman became newly current and even politically courageous, to some extent because of events taking place outside the theater. When the ...
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10/25/1990 CD Cast Recording Good Customer service is our top priority! The item or packaging may have identifying markings from its owner or show limited signs of wear. Digital ... copies may or may not be present. Read more Show Less

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Editorial Reviews

All Music Guide - William Ruhlmann
For songwriter Jerry Herman, the challenge of a new Broadway musical is to find a fresh way to frame his admittedly old-fashioned, show biz approach to creating traditional entertainment. Through three consecutive flops, Dear World (1969), Mack & Mabel (1974), and The Grand Tour (1979), after his two massive hits Hello, Dolly! (1964) and Mame (1966), Herman failed in that endeavor, meanwhile watching rivals Stephen Sondheim perfect the "concept" musical and Andrew Lloyd Webber the rock musical. But with La Cage aux Folles, Herman became newly current and even politically courageous, to some extent because of events taking place outside the theater. When the French-Italian film adaptation of Jean Poiret's play became a big box office hit in the late '70s, it was a conventional farce with a typically Gallic twist, the old son-of-bohemian-parents-brings-his-fiance-and-her-straitlaced-parents-to-visit story, in this case with the bohemian parents being a gay couple who run a nightclub for female impersonators in St. Tropez. What happened in the years between the film's success and the opening of the musical on August 21, 1983, however, was the AIDS crisis, with the consequent galvanizing of the gay community, especially in New York. Thus, the show became not just a musical comedy, but also a statement of gay pride, with a script by up-and-coming gay playwright Harvey Fierstein and a score by Herman that, even if it was typically tame musically, was full of the same subtext, as, for instance, Albin (George Hearn) defiantly sang the anthem "I Am What I Am," speaking not just for female impersonators on the French Riviera, but for gay people everywhere. And if "The Best of Times" was another of Herman's catchy, yet sing-songy production numbers, its line, "As for tomorrow, well, who knows?," spoke to listeners fearful of imminent death from an untreatable illness. All of which is to say that Herman found that fresh context for his usual shtick, even if it was a dark one. But the context added weight, making La Cage aux Folles the musical more substantial than the play or film. And it helped that Hearn could be both giddy and assertive, while his partner, the TV actor Gene Barry, surprisingly could sing. The result was Herman's biggest hit in years. The 2008 reissue of the cast album contains a bonus track in which the songwriter recalls how he came to work on the show and to write "I Am What I Am."
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Product Details

  • Release Date: 10/25/1990
  • Label: Rca Victor Broadway
  • UPC: 078635482423
  • Catalog Number: 14824

Tracks

Disc 1
  1. 1 Prelude (3:00)
  2. 2 We Are What We Are (3:53)
  3. 3 A Little More Mascara (4:43)
  4. 4 With Anne On My Arm - Jon Weiner (2:35)
  5. 5 With You on My Arm - George Hearn (2:35)
  6. 6 Song On The Sand (La Da Da Da) - Gene Barry (3:55)
  7. 7 La Cage Aux Folles (6:43)
  8. 8 I Am What I Am - George Hearn (3:02)
  9. 9 Song on the Sand (Reprise) - George Hearn (1:50)
  10. 10 Masculinity (2:28)
  11. 11 Look Over There - Gene Barry (2:52)
  12. 12 Cocktail Counterpoint - Jon Weiner (1:52)
  13. 13 The Best Of Times (5:35)
  14. 14 Look over There (Reprise) - Jon Weiner (1:11)
  15. 15 The Finale: With You on My Arm/La Cage Auf Folles/Song on the Sand/The ... (5:49)
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Album Credits

Performance Credits
Gene Barry Vocals, Track Performer
David Cahn Vocals
David Engel Vocals
Eric W. Lamp Vocals
Dr. David Evans Vocals
Jay Garner Vocals, Track Performer
William Thomas Jr. Vocals
George Hearn Vocals, Track Performer
Jim Tyler Performing Ensemble
Frank Dipasquale Vocals
Jack Neubeck Vocals
Elizabeth Parrish Vocals
Mark Waldrop Vocals
Jennifer Smith Vocals
Merle Louise Vocals, Track Performer
Jon Weiner Track Performer
Technical Credits
Don Pippin Director, Vocal Arrangements
Paul Goodman Engineer
Kevin Johnson Composer
Tommy Shepard Producer
Glenn Tipton Composer
Harvey Fierstein Liner Notes
Thomas Z. Shepard Producer
J.J. Stelmach Art Direction
Bill Berta Artwork, Cover Art
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Customer Reviews

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Another Jerry Herman Classic

    La Cage aux Folles is another Jerry Herman spectacular following in the footsteps of his classic shows such as Hello Dolly, Mame and Dear World. The music is uplifting and it sticks in your mind. As with his other musicals, this one is full of excitement and emotion. The words as well as the music are haunting and memorable.

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  • Anonymous

    Posted March 18, 2010

    No text was provided for this review.

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