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Gay for Play: <em>La Cage Aux Folles,</em> reviewed.

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Gay for Play: La Cage Aux Folles, reviewed.

Chris Klimek

 Brent Barrett surrounded by Les Cagelles (Signature).

Brent Barrett surrounded by Les Cagelles (Signature).

My review of Signature Theatre's robust revival of Jerry Herman and Harvey Fierstein's beloved Reagan-era musical farce La Cage Aux Folles is in this week's Washington City Paper. I like the show, but I don't like my review as much as the one I wrote of the Goodspeed Opera House's production about a year ago, as part of my coursework for the Eugene O'Neill Theatre Center's National Critics Institute. Which is odd, because I remember thinking I was producing mostly unpublishable copy while I was there. I've never been a fast writer. Most days we had copy due at 8:30 or 9 a.m. about the show we'd seen the night before. Anyway, the Critic Class of 2016 starts their two-week term on Saturday. Good luck, you guys. I envy you, sort of — just not your early-a.m. deadlines or your accommodations or your on-campus meals. 

Actually, the coffee was pretty decent. I drank a lot of it, at any rate.