cd review- Christine Ebersole Sings Noel Coward

Looking back at my review of the film Paper Moon yesterday and my comment about Christine Ebersole who starred in the musicalized version of that story, made me think of her latest recording- Christine Ebersole Sings Noel Coward.

Ebersole has had an extremely long and varied career.  She was a member of the Saturday Night Live cast in 1981/1982 but also appeared on the soap Ryan's Hope in the late 70's.  She had recurring or guest parts in many tv shows including The Cavanaughs, Will and Grace, Valerie's Family, Ally McBeal and the current show Royal Pains as well as suporting parts in several films including Amadeus, Tootsie and Dead Again.  She is also an accomplished singer and played "Tessie Tura" in the tv film of Gypsy and has won two Tony Awards for Best Actress in a Musical.  

  As a gifted comical singing actress she also has had a successful career performing at various cabaret venues in New York City and across the country.  She has a few recordings of her cabaret shows available that show her wonderful voice and delivery.She has appeared on Broadway a dozen times.  Her first big role was as "Ado Annie" in the 1979 revival of Oklahoma!  She won the Tony for Best Actress in a Musical for the 2001 revival of 42nd Street.  But her biggest success was her dual roles of Edith Bouvier Beale and "Little" Edie Beale (picture of her as "Little Edie" above right) in the 2006 musical Grey Gardens which was based on the cult film of the same name. And even though the production wasn't a commercial success, only running about a year in total with the combined original Off Broadway and subsequent Broadway runs, Ebersole won her second best Musical Actress Tony for the show.

She played Elvira in the 2009 revival of Noel Coward's Blithe Spirit opposite Rupert Everett  and Angela Lansbury and for that production she made several recordings of Coward songs that were played during the scene changes.  Even though these recordings only lasted less than a minute each, they hit a positive note with theatre goers who asked if a recording of them existed, unfortunately one hadn't been made.  But fortunately, Ebersole did record an entire album of Coward songs that was released this past Fall.

Her renditions of these songs is simply astounding.  There isn't a misstep in any of the selections but my favorites are "World Weary," "If Love Were All," "Mad About the Boy" the coupling of "Never Again" and "Sail Away" and a beautiful duet of "Room With a View" with Howard McGillin.  This is one of those albums for anyone who appreciates classic songs interpreted by someone who knows how to deliver them clearly and accurately without trying to update them
unnecessarily.  The fact that Ebersole is such a gifted actress allows the heartbreak and love within the lyrics to shine in a new way.  The arrangements by musical director Larry Yurman are beautiful played and also a throw back to the period the recordings come from.

Highly recommended.

Ebersole in Blithe Spirit

Songs on the recording are:
Someday I'll Find You
Any Little Fish/It's Only You
You Were There
A Room with a View (duet with Howard McGillin)
Chase Me Charlie
Matelot/Come The Wild, Wild Weather
I'll Follow My Secret Heart
World Weary
If Love Were All
Mad About the Boy
Never Again/Sail Away
The Dream Is Over
When My Ship Comes Home
I'll See You Again

Amazon link for the cd - Christine Ebersole Sings Noel Coward



Amazon link for the Grey Gardens cd- Grey Gardens: Original Broadway Cast Recording



Amazon link for the 42nd Cast Recording - 42nd Street (2001 Revival Broadway Cast)



Amazon link for Christine Ebersole Sunday in New York cd - Sunday In New York



Amazon link for Christine Ebersole- In Your Dreams cd - In Your Dreams



2007 Tony Perfromance from Grey Gardens -

Christine sings "Around the World" from Grey Gardens



Christine sings "I Only Have Eyes For You" from 42nd Street on The Rosie O'Donnell Show-

"Classic Film Flashback" - Paper Moon (1973)

Paper Moon, the 1973 film that stars Ryan O'Neal and his daughter Tatum, tells the story of a conman and a 9 year old girl. Directed by Peter Bogdanovich, and based on the book Addie Pray the film is set during the Great Depression. Tatum is Addie, an orphaned girl who's mother was once associated with Moses Pray and since she has his chin she thinks he might be her father. Even though Moses originally wants nothing to do with her, only agreeing to get her to her Aunt's house by putting her on a train, when he finds himself owing her money he let's her travel with him as he conducts his business until he earns enough to pay her back.  

The film follows Moses and Addie as they travel across Kansas in Moses' car.  Addie quickly realizes not only just how Moses makes money- mainly by convincing recently widowed women that their husband's had recently ordered expensive bibles with their names engraved on them, but also that she is pretty good at conning as well.  So, they find themselves drawn to each other and acting much like a father and daughter behave, well ones that swindle people and fight and bicker at least.

Madeline Kahn is Trixie Delight, a "performer" at a carnival they visit.  Moses becomes enraptured with her so she joins them on their journey, bringing her young black maid, Imogene and multiple pieces of luggage as well.   While Addie appreciates having Imogene along since she is close to her age, she quickly becomes jealous of Trixie and realizes that Trixie is just using Moses to get what she wants.  Addie must find a way to get Trixie out of the picture and Moses still needs to get Addie to her Aunt's house.  But there are bootleggers, the police, stolen cars and various other obstacles they have to deal with first.

How Addie and Moses get out of the situation they're in and what happens between the two of them once Moses earns the money he owes Addie takes the film to it's conclusion, one that isn't exactly how you think it will be.

Tatum O'Neal clearly deserved the Oscar for Best Supporting Actress that year, she is a complete natural in the role.  Her father is also in top form and while this is a departure from the "straight man" he played in the classic comedy What's Up Doc? just a year before, he has beautiful comic timing that easily translates into this depression era drama with many comic moments.   It is also interesting to note that Kahn, who was also in What's Up Doc? is playing a very different, yet in many ways very similar character to the one she played with O'Neal just a year before.  But in the earlier film, she was a completely out of control character, here, she is in complete control of the situation.   Also, Bogdanovich directed both of those films.  So, clearly, the three of them knew how to work extremely well together and the results show in both films.

The black and white cinematography of Paper Moon is absolutely beautiful.  The wide open fields that butt up against the roads that Moses and Addie travel along clearly are stark and extremely representative of what one believes the effect the Great Depression had on states like Kansas. 

So, if you're looking for a film with great performances, a well thought out and plotted story with some twists and turns along the way, check out Paper Moon.

The film was actually turned into a musical that had plans to play Broadway.  In 1993, the musical had a try-out at the Paper Mill Playhouse in Millburn, NJ, just about 30 minutes from New York City.  Unfortunately the reviews it got said it was too overproduced, misdirected and unfocused so the show never made the journey from New Jersey to Broadway.   At Paper Mill, the musical starred Gregory Harrison as Moses, with Christine Ebersole as Trixie and Chandra Wilson (from tv's Grey's Anatomy) as Imogene.  The musical had music by Larr Grossman, a book by Martin Casella and lyrics by Ellen Fitzhugh and Carol Hall.  The musical has been produced a couple of other times in other cities outside of NYC in the mid 90's, but still received mixed reviews.
A scene from Paper Moon with Ryan and Tatum - shows the great direction, cinematography, acting and dialogue -

A scene from Paper Moon with Madeline Kahn-

Amazon link for the Paper Moon - dvd - Paper Moon

Amazon link for the What's Up Doc? blu ray dvd - What's Up Doc? [Blu-ray]

broadway birthday WOMAN OF THE YEAR opened on Broadway 30 years ago today

Woman of the Year is a classic film from 1942 that starred Kate Hepburn and Spencer Tracy, it tells the story of two newspaper journalists who get married and have to deal with their individual egos and the impact on their marriage when the wife is named "the woman of the year."  

In 1981, the musical version of the film opened on Broadway- 30 years ago today.  For Broadway, the story was slightly altered and now the wife was a famous tv journalist and her husband a cartoonist, with the musical told somewhat in flashback.

John Kander and Fred Ebb wrote the score and Peter Stone wrote the book.  This was Bacall's second outing in a musical having scored very well in 1970 with Applause.   While she might not be the best singer, she manages to hold her own with the rest of the cast and has an amazing presence that comes through loud and clear on the cast recording.  Bacall won the Tony award for Best Actress.

The show ran for 770 performances and notable replacements were Raquel Welch and Debbie Reynolds with Barbara Eden starring in the national tour.  Notable songs are "Sometimes a Day Goes By" and "The Grass is Always Greener" with costar Marilyn Cooper, who won the Best Supporting Actress Tony for her role as the wife of Bacall's ex-husband.  Unfortunately the cd is now out of print.

Trailer for the 1942 film

Raquel Welch and Marilyn Cooper sings "The Grass is Always Greener" from the Tony Awards

broadway birthday THE KING AND I opened on Broadway 60 years ago today- March 29, 1951

60 Years ago today musical theatre history was made when The King and I opened on Broadway.  This was actually the 4th successful stage musical that the team of Richard Rodgers and Oscar Hammerstein II created, following Oklahoma! in 1943, Carousel in 1945 and South Pacific in 1949.   The King and I is based on the novel Anna and the King of Siam by Margaret Landon from 1944, which had already been turned into a film.  

Gertrude Lawrence purchased the rights to the novel as a vehicle for herself and her business manager approached Rodgers and Hammerstein about writing the score.  At first they were reluctant, not being fans of the novel which was somewhat disjointed as well as questioning the aging Lawrence's ability to carry a musical.  However, they agreed and the rest is history.

The story follows Anna Leonowens as she arrives in 1860's Siam from England to become the governess for the King's children.   The King is interested in Western ways and through his relationship with Anna becomes a much better man.   His son, who is next in line for the throne, also realizes that progress is necessary and that the way the King rules can be a positive thing.   Of course, there are also some glorious songs by Rodgers and Hammerstein including "Shall We Dance," "Hello Young Lovers," "Something Wonderful" and a beautiful dance sequence in the second act, "Small House of Uncle Thomas" a dramatic ballet based on "Uncle Tom's Cabin" that is a correlation to the lives of some of the Siam people who were treated like slaves.   The original production ran for three years and 1246 performances.
  

The musical has been revived on Broadway three times.  The first one happened in 1977, the revival ran for a year and a half and 695 performances.  When Yul Brynner took a three week vacation, Angela Lansbury played the part of "Anna"  - to the left is a poster for those 24 performances.  Brynner was back again in 1985, this time for a 6 month run that ended a National Tour with a final stop on Broadway, with Mary Beth Peil from tv's The Good Wife as his "Anna."   Unfortunately, just like Gertrude Lawrence during the original run, Brynner had cancer and would die within a few months of his last Broadway performance.   The last major revival was in 1996 when Donna Murphy and Lou Diamond Philips played Anna and the King. Murphy won a Tony for her performance.   I saw that production twice and have to say that it is one of my most favorite theatrical memories, the production and cast was simply top notch.

The 1956 film version was a huge success as well.  Brynner recreated his stage performance, winning an Oscar for it and Deborah Kerr was "Anna." - though her singing was done by Marnie Nixon.  Some adjustments were made for the film, including eliminating a couple of songs, however the entire Jerome Robbin's choreography was intact, including a beautifully shot "Small House of Uncle Thomas."   If you buy or rent this film, make sure to get the widescreen version as this was one of the earliest CinemaScope productions and there are many sequences when they use every inch of the image.







Yul Brynner and Patricia Morrison Tony Award performance -

Lou Diamond Phillips and Donna Murphy from the 1996 Tony Awards -

Amazon link for the original broadway cast recording on cd...
The King and I: A Decca Broadway Original Cast Album (Original 1951 Broadway Cast)

Amazon link for the film soundtrack from 1956...
The King and I (1956 Film Soundtrack)

Amazon link for the film on dvd - The King and I (50th Anniversary Edition)

Amazon link for the 1996 Revival cast recording - The King and I (1996 Broadway Revival Cast)

"Top of the Queue Review" - Hachi: A Dog's Tale

I'm a dog lover.  Though we never really had a dog when I was growing up, except for one that my sister had for a short time when I was about 12, I found myself drawn to wanting to own a dog in my late 20's.  Our first dog was a part of our family for almost 12 years, and our latest one has been with us for 6.  I find myself in conversations with other dog owners about our dog's behaviours and also am drawn to movies with dogs in them.  

So, Hachi: A Dog's Tale - not exactly the best name for a movie.   But it got good reviews so into the Netflix queue it went.   As it was getting to the top of the queue, and when I saw the title, which, come on, is just a pretty bad one, I questioned why I put it in there, as I couldn't quite remember why it got into the queue in the first place.  But once I saw the pic of the dog in the film's poster, I smiled at the site of it and decided to keep it where it was, and it arrived a couple of days later.

Now, those of you who aren't into movies about dogs or who don't cry when sad things happen in movies, you might as well stop reading now.  But for everyone else out there, go ahead and give this one a spin- it has some big names in the cast and a series of dog's that play the title character that will make you tear up.  The dog "cast" is simply amazing - after you watch the movie definitely check out the special feature about the making of the film that includes a lot of behind the scenes footage of the dogs that were used, how they got them to perform and how they made them to look older then they really were for the later parts of the film.

The story is actually based on a famous Japanese tale of a dog who would follow his owner to the train station every day the man went to work, and the dog would be there to greet him when he came off the train at night.  The man died, but the dog kept going back for YEARS until the dog died.   There is even a statue at the train station in Japan that honors the bond this dog had with it's owner.

So, knowing that you can guess where this story is going - but the way it is told and the way it plays out still has some surprises in store.

Richard Gere is the dog owner, Joan Allen is his wife and Jason Alexander is the station master at the train station.   The film is directed by Lasse Hallstrom, the Swedish director who also directed  Chocolat, Dear John, What's Eating Gilbert Grape?, My Life as a Dog and The Cider House Rules- a pretty good list of movies.

It really is all about unconditional love, which when you think about it is really the best love there is.  The film is touching, poignant and will make you think of ones you have loved and loved you- both humans and animals.  A deeply moving movie that I never thought would touch me the way it did.  

And- Broadway connection- Joan Allen won the 1988 Tony Award for Best Actress in a Play for Burn This.  Unfortunately by the time I got to NYC and saw Burn This, she had left the cast.  For Jason Alexander, however, we did see his Tony Award winning performance in Jerome Robbins' Broadway in 1989.  Richard Gere has been on Broadway in a few things, including having been a replacement in the original production of Grease, but he hasn't been in a show on Broadway since 1980, so a little before my Broadway going time.

Amazon link for the film on blu-ray - Hachi: A Dog's Tale [Blu-ray]

Amazon link for the film on dvd - Hachi: A Dog's Tale

"Gone But Great"- Elizabeth Taylor

As I'm sure everybody already knows, Liz Taylor died two days ago at the age of 79. 
Now I can't say that I've seen every movies she's made, but there are many I
have. 

A few highlights from her vast career, all which have ties to Broadway:

She starred as Maggie in the 1958 film version of Tennessee Williams' Cat on a Hot Tin Roof . The film, and play, is all about family relations in the South and what happens when the patriarch is close to death.  Maggie, "the cat," having married into this wealthy family, finds it difficult to live with her husband Brick (Paul Newman) who seems to have no interest in making a play for the family's inheritance.  He would rather have yet another drink and stay depressed after his pro football player friend Skipper's recent suicide, a friend who he might just have been more intimate with then he is with Maggie.    And while some of the more mature content from the play was toned down or virtually eliminated for the film due to the limitations put on films at that time, the adaptation is still quite good and Taylor, Newman and the film were all nominated for Oscars.  My friend Steven loves to quote one of her lines in that film that she delivers to her handsome yet innatentive, alcoholic husband- "Why can't you get ugly Brick? Why can't you please get fat or ugly or somethin' so I can stand it?"

Her next film was an adaptation of another Tennessee Williams' play.  She stared as Catherine in the 1959 movie of Suddenly Last Summer with Katharine Hepburn and her good friend Montgomery Clift.  In the film, Taylor is driven to the brink of getting a lobotomy after witnessing the events surrounding her cousin Sebastian's death when they were vacationing in Europe.  His mother, played by Hepburn,  is a force of nature who will stop at nothing, even bribery, to convince the doctor who is analyzing Taylor to go through with the lobotomy so it will eliminate the truth about her son's death and what he was.  Shot in glorious black and white, Taylor and Hepburn simply crackle in their scene's together with Taylor completely holding her own against Hepburn.  The flashbacks that show her cousin's death are eerie and shocking. There are plenty of classic lines in the play and film, including this one, delivered by Taylor after being confronted with the possibility that Sebastian was just using her as a way to attract the poor European men they encountered to prostitute themselves for Sebastian's benefit - "Is that what love is? Using people? And maybe that's what hate is - not being able to use people."  I also love how various characters in the play use the phrase "and then suddenly last Summer" throughout the film.   Simply a movie, and a play, that you won't soon forget.

Who's Afraid of Virginia Wolff? is the 1966 film she made with her husband Richard Burton.  Taylor won the Oscar for best actress for her performance as "Martha" in this adaptation of the Edward Albee play, a play that has secrets revealed throughout and a story that isn't always exactly as it seems.  The plot is fairly simple- older couple has younger couple over for a few drinks, but it becomes quickly obvious that the younger couple is simply an audience for an ongoing drunken emotional game that spirals out of control deep into the wee morning hours.  The film (and play) are devastating but both are theatrical gems and are highly recommended.  Here are a couple of classic lines you might want to use the next time you're at a cocktail party that gets a little out of hand - "Get me another drink, lover"  or the great reply that George gives Martha, "rubbing alcohol for you?"

One other "theatrical" film that Taylor made was the film version of Stephen Sondheim and Hugh Wheeler's A Little Night Music.  Unfortunately, the film and Taylor's performance weren't that highly regarded and pretty much the parts that made the musical a success on Broadway were virtually eliminated for the film which was now constructed as a play within a play.   Much like the film version of Sondheim's Sweeney Todd, the entire ensemble and their songs were cut for the film, but since they were the ones who commented on the action in the play, the story suffered as a result of it.  And though Taylor looked great and acted well, her version of the hit song "Send in the Clowns" left a little to be desired.

Taylor appeared on Broadway twice, her Broadway debut was in 1981 in a revival of The Little Foxes and her only other appearance was in 1983 in a revival of Private Lives with her husband Richard Burton. 

I recommend putting any of these films into your Netflix queue.

One other Broadway connection - Liz's first big smash was in the 1944 film National Velvet, which just also happened to co-star a young Angela Lansbury, who has won 5 Tony Awards including winning for Sweeney Todd, which just happens to be my favorite musical!


Cat on a Hot Tin Roof scene with Newman -

Trailer for Suddenly, Last Summer - 

Trailer for Who's Afraid of Virginia Wolff?



The "Send in the Clowns" sequence from the film of A Little Night Music with Len Cariou -

Amazon link for Suddenly Last Summer on dvd - Suddenly, Last Summer

Amazon link for Cat on a Hot Tin Roof on dvd - Cat on a Hot Tin Roof (Deluxe Edition)

Amazon link for Who's Afraid of Virginia Wolff? on dvd - Who's Afraid of Virginia Woolf? (Two-Disc Special Edition)

Amazon link for A Little Night Music on dvd - A Little Night Music

theatre review, LA CAGE AUX FOLLES, Broadway, March 23, 2011

                                             The current Broadway revival of La Cage Aux Folles is coming up on it's one year anniversary.  Originally starring Kelsey Grammer and Tony Winner Douglas Hodge, the 2010 revival recently underwent a change of it's two leads.  Harvey Fierstein, who wrote the book for the show, is now playing "Albin" the drag queen half of the main couple and Chris Sieber is now playing "Georges" the, er, straight man half of the couple.

Fierstein has never appeared in this show before, which when you think about it is quite amazing, since he won a Tony in 1984 for the book of the musical and is equally known as an actor and a writer.  This revival also won the 2010 Tony for Best Musical Revival.


For those who have never seen this show, the French film it is based on or the American film The Birdcage, which was based on the French film, the plot of the show is as follows: son of a gay drag club owner plans to get married to the daughter of a right wing, ultra conservative politician.  The boy's other father,   who is the star drag queen at the club, disguises himself as the boy's mother in order for the marriage to go forward since the girl's parents insist on meeting both of the boy's parents and the boy's biological mother isn't able to make it.   Of course, nothing goes as planned, and hilarity ensues.

Fierstein and Sieber are simply brilliant.  They both have an amazing emotional connection to each other and the other actor's in the show.  The production itself is still in top form. The second leads and ensemble, most having been in the show since it started last year, are still a well oiled professional machine.  I especially like A. J. Shively as "Georges" son and Wilson Jermaine Heredia who is now playing "Jacob"-Albin's maid.  I also like how Mike McShane and Allyce Beasley, who play the girl's parents, also play the owners of the cafe who we see several times and who are obviously very close to Georges and Albin, it's a nice mirror image of the parents they play in act two.  And, of course, the score by Jerry Herman has many gems that still sound beautiful even when sung by Fierstein with his fog horn voice.

And, as much as I enjoyed the large scale grandeur of the original broadway cast, which I saw twice back in the late 80's, I will say that presenting the story on a somewhat smaller scale, with a smaller cast, in a smaller theatre, allows more focus to be put on the main characters and less on the ensemble, sets and costumes.  Something that Priscilla, Queen of the Desert doesn't exactly allow to happen - see my review of that show here.  Sometimes less is actually more.  And, the original 1984 production of La Cage actually played at the Palace Theatre where Priscilla opened this past Sunday. 


We were fortunate enough to have been at the last performance of Grammer and Hodge, on February 13th.   They both were great in their roles, but you always knew they were two straight men playing gay.  The original 1984 production also had two straight men as the leads, George Hearn was "Albin" and Gene Barry was "Georges." So there is something to be said to now having two actual gay men playing these parts.  They both obviously have a lifetime of experience to draw upon instead of with Grammer and Hodge who, even though were both great in their parts, it still seemed more of an acting exercise like, "ok, now play it as a gay man."

Sieber

Sieber is best known by non-Broadway audiences as the father on the 1998 tv series Two of a Kind, where he played the father of the Olsen twins.   Since that tv show he has appeared in numerous Broadway productions and was twice nominated for a Tony Award, first for Spamalot in 2005 and in 2009 for Shrek the Musical.  Sieber actually made his New York debut when he played the part of the young "Jacob Marley" in the musical I was happy to be involved with back in 1994, A Christmas Carol.  For La Cage, he was actually a last minute replacement for the original "Georges" replacement, Jeffrey Tambor, who only played about two weeks worth of performances with Fierstein before deciding he wasn't psychically up to the challenge of doing the show 8 times a week.  This is the biggest part I've seen Sieber play on Broadway and I do believe this will give him a huge career boost.  My only quibble -Sieber is about 15 years younger than Fierstein in real life, though having seen him walking on the street, he looks even a few years younger than that.  He is made to look older than he really is by making his hair have some grey in it, and there is a line in the show that says that "Albin" is 10 years older than "Georges" - but it still is a little obvious just how much younger Sieber is.  But then I guess since he was a last minute replacement, and that he is so great in the role, that it is understandable if the age difference is a little more than it should be.   Also, Sieber and Fierstein really seem like a couple in love - something that you never quite completely got with Grammer and Hodge.





A. J. Shively



One other note about A. J. Shively, who has played "George's" son since the beginning of this revival- at that final performance for Grammer and Hodge he was almost in tears when he had his first scene with his "father" Grammer, and got chocked up during his song.  When he faltered, Grammer simply looked him straight in the face and took his arm, and then Shively continued on - exactly what a real father would do.  It was a very emotional and touching moment that showed the connection that Grammer had not only with Shively but with this revival.   I was happy that I saw even more of this connection with Shively and his two new "parents" - there were many touching parts with him and Sieber and the way that Fierstein looks at him, first with love through anger that eventually turns into pure motherly love, was actually heart breaking. 

Fierstein and O'Donnell

Fierstein himself made a splash as a Broadway replacement when in 2005 he took over for Alfred Molina as "Tevye" in the Broadway revial of Fiddler on the Roof.  I saw him twice in that production, first with Andrea Martin as his wife and second with Rosie O'Donnell.   He was fantastic in that part- something that a lot of Broadway insiders thought would be a stretch for him - a gay man playing a father of seven daughters.   He was so convincing in the part that the Tony committee talked about introducing a new award for a replacement cast member in a currently running show, something that was never thought of before.  Unfortunately the committee later decided to not go forward with this award category, if they had, Fierstein would surely have won it for his Fiddler and this year as well for his "Albin."   Fierstein even replaced Topol, who played "Tevye" in the recent 2009 National tour of Fiddler, when Topol was unable to continue on that tour, which was his "final" tour in the role, due to torn arm muscles.


So, if you missed this revival, or saw it already with Hodge and Grammer, I highly recommend a visit to the wacky, seedy but very loving nightclub of La Cage aux Folles.

- Chris Sieber and Harvey Fierstein

A. J. Shively and Wilson Jermaine Heredia -





Official show site



2010 Original Revival Cast with Hodge and Grammer - highlights -

George Hearn sings "I Am What I Am" -

Original Broadway cast Tony Awards Performance -

Amazon link for the cast recording with Hodge and Grammer - La Cage Aux Folles: New Broadway Cast Recording


Amazon link for the Original Broadway cast recording - La Cage Aux Folles: The Broadway Musical (1983 Original Broadway Cast)


Amazon link for the script of the show - La Cage Aux Folles


Amazon link for the dvd of the film La Cage aux Folles - La Cage Aux Folles


Amazon link for the dvd double feature of La Cage and The Birdcage - La Cage Aux Folles (1979) / The Birdcage (1996) (Double Take)