Cole Porter said it in two words, "C’est Magnifique." Is this latest Theatre Harrisburg musical production with questionably controversial subject material a bit much for shoo-fly pie country? "Non, monsieurs et madames." It is "simplement" the fun, frothy type of entertainment with a message, that everyone should run to Whitaker Center to experience.

Whether you’ve translated the title to a simple "Birds of a Feather," "Birdcage," or more applicable "Cage of Fools/Madmen/Silly Geese," you will see that Jerry Herman and Harvey Fierstein’s marvelous musical has much "folly" and mixed-up antics that may really define the title.

You will be transported to the south of France into the lives of Georges, the homosexual owner of a notorious nightclub, La Cage aux Folles, and his flamboyant, transvestite lover and "wife," Albin. Albin is also the renown and well-loved "Zaza," the star performer at the club. For years, the two gay, middle-aged men have shared a life and raised a fine son, Jean-Michel. The problems begin when Jean-Michel announces that he is getting married to a "woman"! The woman’s father is a public figure known for his staunch regard for family values. Of course, the two sets of parents must meet. This situation forces the three to face the prejudice of the outside world, and each must examine his conscience and find the true meaning of love.

Tom Hostetter, the show’s director, has well encaged us in La Cage aux Folle’s unique world of glitz and glamour in a most upbeat manner and still manages to convey the show’s message. Curtis Smith’s sets are simple, yet provide an excellent background for Paul Foltz’s "oo-la-la," outlandish, colourful costumes and wigs. The diversity of vibrant colour and design is visually exciting, although perhaps an encumbrance to Les Cagelles, the club’s chorus "girls," who are busy concentrating on Steven Flom and Joyce Freeman’s outstanding choreography. These moves are often fast and furious, much to the audience’s delight, especially the tap and can-can numbers. It was difficult to determine male and female among Les Cagelles, but you’ve got to pity a guy doing these moves in heels; a great job, but bring on the Band-Aids!

Hostetter’s greatest coup with this production is in casting David Fisher as Georges and Dennis Norton as Albin, for their relationship is the heart of this show. Fisher and Norton work so well together that you could imagine the one finishing the other’s sentences. During their scenes alone, one is so drawn into the dialogue that you are impervious to anything else, such as a scene change. The tenderest moments occur during their "With You on My Arm" and "Song on the Sand" numbers. In spite of social morés, these scenes of sentimentality are so touching that you might be tempted to reach for your date’s hand or give it an extra squeeze.

Through the affectation, outrageous rantings, and despair, Norton is so charming as Albin that it’s easy to see why he is so beloved. His emotions are like a willow blowing with the wind and yet, when challenged, he stands strong and resolute as he sings "I Am What I Am," a message to all to be true to yourself.

Fisher, as Georges, the more masculine of the pair, is a nice contrast to Norton’s Albin. The two have excellent timing and carry many of the scenes with their banter. An especially appealing number and a definite highlight of the show is "Masculinity." In preparation for the imminent meeting with the future in-laws, Georges and the townspeople chide Albin for his effeminacy and coach him how to walk and talk like John Wayne.

The supporting cast is adequate and special mention must go the biggest scene stealer, right up there with animals and children ... Jacob, the couple’s butler/maid. Marcus Anthony Flynn, in his Theatre Harrisburg debut, manages to steal every scene with his comic flailing and appearance. Granted, the part is well-written and would be a joy to any actor, but Flynn uses this knowledge to take the material and fly with it, all to the audience’s advantage.

With this show being a musical, one cannot ignore mentioning Jerry Herman’s sweet and memorable tunes and toe-tapping numbers. Norton is a fine voice for Albin and uses his acting abilities in a natural manner so as not to sacrifice character for vocal quality. One can say the same about Fisher. This is why the two seem so "real" to us. One should also note Russ Reed’s pleasant and easy vocal style as he plays Jean-Michel, the young son smitten by love.

Knowing that the comedy is set in France, one might long for more affirmation of this fact, but wonder how that might have been accomplished to a greater degree without being distractive. Yet, the touches that exist are very nice. In the number, "Song on the Sand," you can especially feel the French flavour as you swear you hear a concertina or accordion. Where are the berets?!

One strange, yet arousing moment belongs to the amusing character of Hanna, played by Ray Myers. The interjection of her dominatrix cat’s play seems for a moment oddly out of place, and yet … most definitely fits the cabaret style. If slightly misplaced, it is a well-choreographed and interesting moment. Surprises continue in this comedy and you will definitely be tickled by the denoument.

The technical problems that were encountered on opening night are too few to mention and after all, isn’t this the "hazard" of live theatre and part of what makes it so enjoyable to us? So, all of you shoo-fly pie snobs who are running off to New York on weekends for quality entertainment, need look no further than your own kitchen. A delight of local talent awaits you at La Cage aux Folles. Performances continue at Whitaker Center June 8, 9, 10, 15, 16, 17, & 18, evenings at 8:00 PM with Sunday Matinees at 2:00 p.m. Be assured that the cast will greet you with a sincere "Bienvenu!"