ABOUT THE PLAY

La Cage aux Folles

Book by Harvey Fierstein
Music and Lyrics by Jerry Herman
Based on the play by Jean Poiret
Directed by Thom Allison
Choreographed by Cameron Carver
Music Director Franklin Brasz

House Program

Grade Recommendation Grade 8+

Content Advisory

The play explores mature themes including transphobia, homophobia and misogyny. It contains some sexual innuendo and coarse language. Please see the show page for a detailed audience advisory.

Synopsis

Georges, the manager of a drag club in St. Tropez, decides to "play it straight" when his son arrives with his fiancé and her ultraconservative parents. Albin, the club's star performer and romantic partner to Georges, is dubious about the plan. The ensuing clash unravels truth and consequences with heartwarming grace. Gorgeous and funny, this musical has been delighting audiences since its Tony Award-winning première in 1983.

Curriculum Connections

Global Competencies

• Citizenship, Collaboration, Critical Thinking, Creativity, Metacognition, Self-Awareness

Grade 8

• The Arts
• Language
• Science and Technology

Grade 9-12

• The Arts
• Canadian and World Studies
• English
• Technological Education

Grade 11-12

• Social Sciences and Humanities

Post-Secondary

• Suitable for courses in disciplines such as Arts, Cultural Studies, Creative Writing, Dance, Drama, English, Fine Arts, Gender Studies, History, Human Rights, Music, Social Development Studies, Teacher Education and Theatre

Themes

• 2SLGBTQI+ Culture and Pride
• Authenticity, Visibility, Secrecy and Safety
• Breaking Stereotypes
• Combatting Transphobia and Homophobia
• Drag Culture and Performance
• The Entertainment Scene of St. Tropez in the 1970s
• Family, Belonging and Self-Acceptance
• Gender Construction, Performance and Identity
• Hope and Change
• Humour and Satire
• Hypocrisy
• Love and Marriage
• Respect and Understanding
• Shame and the Corrosion of Self-Image

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

• What does family mean to you?
• Reflect on your understanding of drag culture and performance. In drag and more broadly, what is the relationship between gender and performance? Explore this Drag 101 Resource and share one fact that surprised you.
• The original film La Cage aux Folles premiered in 1978 and the Broadway musical version in 1983. In what ways have representations of 2SLGBTQI+ people changed since this show debuted? What do you think still needs to change?
• What prevents people who are a part of the 2SLGBTQI+ community from being and sharing their true selves? What could be done to change this?
• Why is laughter such a positive, connecting force? Do you believe comedy can change the world for good? Why or why not?
• Can the actions of just one or a few people impact societal change? Explain your thinking.
• What is hypocrisy? Why might someone choose to say one thing and do another?
• What are the consequences of hypocrisy in personal relationships? In society at large?
• Feeling disappointed by the actions of a close friend or family member can be painful. What advice would you give to someone dealing with a friend or family member disappointing them? How would you suggest they respond and move forward?
• How do you show your love for the important people in your life? In what ways do you most appreciate being shown that you are loved?
  
  

POST-SHOW QUESTIONS

• How do the characters in La Cage aux Folles explore and achieve self-actualization? Identify a couple of specific moments or songs that highlight this journey.
• How does Jerry Herman's music contribute to the storytelling, particularly in moments of self-discovery and emotional revelation? Which song resonated most with you? Why do you think that might be?
• In La Cage aux Folles, we encounter characters who challenge traditional and binary notions of masculinity, sexuality and family. There are also instances of those "passing" in certain situations. Can you identify instances of internalized homophobia or judgment within the queer community in the musical? How do you feel the show addressed these issues?
• Does drag challenge or reinforce traditional gender norms? Consider the impact of the drag performances on both the characters in the musical and the audience.
• In what ways does donning drag empower characters in the musical? Discuss specific moments where the act of performing in drag becomes a source of strength and resilience.
• Drag icon RuPaul has said: "Drag is like fame: It doesn't hide you. It reveals who you are." Based on the production, do you agree or disagree with this statement? Which characters reveal their true self through drag?
• How do characters grapple with societal expectations, prejudice and their own sense of shame? Discuss instances where shame is confronted or overcome. What did the characters' journeys and experiences in the play reveal to you about the world today?
• The show shifts between scenes in the club and in domestic spaces. What differences did you notice about how the characters behave in these two spaces? Is there a performative aspect to both? How did the design of the production enhance your experience of those two very different spaces?
• Parents, like Georges and Albin, sometimes make mistakes out of love. Discuss specific scenes in the show that highlight the challenges parents face when trying to do what they believe is best for their children. How might we reconcile intent and impact when it comes to parent-child relationships?
• Choose a relationship featured in the show (e.g., between partners, parents and children, the community at the club). How does this relationship change over the course of the story? What do these changes reveal about the characters' growth?
• Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?
  
  

MINDS ON

Objective: Students will analyze the song "I Am What I Am" from the musical La Cage aux Folles and other songs in popular culture to identify characteristics of a "gay anthem."

Materials:

• Audio or video recording of "I Am What I Am" (from the 1983 or another cast recording) and a copy of the lyrics
• Whiteboard/flip chart and markers

Directions:

1. Begin by introducing the musical La Cage aux Folles and its historical context:
   It premiered in 1983 and revolves around a gay couple, Georges and Albin, who own a nightclub in Saint-Tropez. The musical challenges societal norms and explores themes of love, identity and acceptance within the 2SLGBTQIA+ community. When it premiered, it was groundbreaking in its portrayal of a loving gay relationship during a time of limited queer representation.
2. Play or show a clip of the song "I Am What I Am" from the stage production of La Cage aux Folles and invite students to read and reflect on the lyrics.
3. Invite students to discuss what they noticed in terms of the emotions conveyed in the song, the message it conveys and any recurring themes.
4. Introduce the idea of a "gay anthem" and ask students to imagine the criteria for one. (You might choose to share the 10 thematic criteria listed by authors Simon Gage, Lisa Richards and Howard Wilmot in their 2009 book, Queer.)
   • What specific characteristics of "I Am What I Am" might make it a gay anthem?
   • Why are self-acceptance, pride and the assertion of identity so important within the 2SLGBTQIA+ community?
5. Next, co-create as a class a list of at least 10 other well-known gay anthems.
6. Then, in small groups, invite students to choose one to analyze, noting how their chosen song measures up to the criteria and common themes of gay anthems.

 Debriefing Questions:

• In your opinion, how does "I Am What I Am" compare to other gay anthems?
• What is the relationship between Broadway, musicals and gay anthems?
• If a song unintentionally becomes a gay anthem, how might that affect the song's impact? Can you think of any examples?
• What is the role of art in activism? Do you believe that music can change the world? Why or why not?

Possible Extensions:

The Best Gay Anthem

1. In small groups, have students select a gay anthem that they would like to argue is the best one of all time.
2. Give each group time to prepare a short argument (of five to seven key points) explaining why their chosen anthem deserves this title.
3. Hold a "battle" or debate where groups present their arguments. Allow time for rebuttals and counterarguments. Invite students to prepare a lip sync of one verse and chorus to introduce their chosen song and argument.
4. Conclude with a class vote on "the best gay anthem of all time" based on which group's argument and performance was most persuasive and compelling.

Identity Collage

1. Invite students to create a collage in response to "I Am What I Am," visually reflecting personal identity or what students receive from the song, incorporating symbols, colours, images and text that reflect self-acceptance, pride and identity. Provide students with the option of creating something digital or something out of paper/mixed media.

CONNECTION TO THE ARCHIVES

In 2011, the Stratford Festival produced Michel Tremblay's Hosanna: the first play ever written by a Canadian to feature a drag performer in a leading role. The play was written and first performed in 1973. Does it surprise you to know that this play was written more than 50 years ago? Why or why not? What do you know about drag culture in the 1970s? How has the representation of drag performers and performance changed since then?

Gareth Potter as Hosanna in Hosanna, 2011. Written by Michel Tremblay. Directed by Weyni Mengesha. Set design by Michael Gianfrancesco. Costume design by Dana Osborne. Lighting design by Bonnie Beecher. Sound design by Thomas Ryder Payne. Photography by Cylla von Tiedemann. Stratford Festival Archives, GPO.2011.004.0217

The Stratford Festival's Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

RESOURCES

Study Guide PDF

Stratford Public Library's La Cage aux Folles Reading List

Study Guides

View Study Guides for selected 2024 plays along with those from previous seasons free of charge on our website.

ADDITIONAL RESOURCES

La Cage aux Folles

'It Felt Fated to Happen,' said Jerry Herman on Writing La Cage aux Folles With Harvey Fierstein | Playbill

The selling of La Cage aux Folles: how audiences were helped to read Broadway's first gay musical | Theatre History Studies

Drag Queens and Drag Culture

Drag extravaganza: The evolution, resilience, and persecution of a vibrant art form (2003) | Cynthia Macdonald, Arts & Science News, University of Toronto

Drag queens were hugely popular in WWI - remember them as the current war on drag intensifies (2023) | Peter Knegt, CBC Arts

The History of Drag in France | Coucou

Gay Anthems

The Evolution of the Queer Anthem: From Judy Garland to Lady Gaga to Lil Nas X (2023) | Hannah Steinkopf-Frank, Grammy Awards

From "Y.M.C.A." to "Bloom": charting the evolution of the gay anthem (2018) | Sophie Wilkinson, The Guardian

How "Y.M.C.A." Became a Gay Anthem (2021) | Cary O'Dell, Library of Congress Blog

No Shade, But There's a Wrong Way to Make a Gay Anthem (2019) | Dave Holmes, Esquire

What makes a gay anthem? | Switched on Pop Podcast  (Please note: in this podcast episode, there is mention of Judy Garland's suicide attempt, including harmful language about it—i.e., "failed suicide attempt")

2SLGBTQI+ Culture and Pride

A symbol of Pride | Karine Duhamel, Canadian Museum for Human Rights

FAQ: What is Passing? | Teen Health Source

Passing (2018) | Tina Gianoulis, GLBTQ

Booking Information: Student Matinées, InterACTive Preshows, Workshops & Chats

Student Matinées

You may book any available date, but selected student matinée performances for this show are at 2 p.m. on the following dates:

• Monday, May 6
• Wednesday, May 8
• Tuesday, May 14
• Friday, May 17
• Wednesday, May 22
• Monday, May 27
• Wednesday, June 5
• Tuesday, June 11
• Thursday, June 20
• Wednesday, September 4
• Friday, September 6
• Thursday, September 12
• Tuesday, September 17
• Thursday, September 26
• Tuesday, October 1
• Friday, October 4
• Friday, October 11
• Tuesday, October 15
• Tuesday, October 22

InterACTive Preshows

Led by artists appearing in the matinée, these high-energy sessions provide students the opportunity to explore key themes, questions and technical aspects of productions on the Festival's renowned stages. $4 per student (free for Teaching Stratford Program participants)

11 a.m.-noon on the following dates:

• Wednesday, May 22
• Wednesday, June 5
• Thursday, September 26
• Friday, October 11
• Tuesday, October 22

For more information, visit: stratfordfestival.ca/InterACTive.

Workshops & Chats

Workshops and Chats (virtual, onsite or at your school/centre) can be booked by calling the Box Office at 1.800.567.1600 or by emailing educate@stratfordfestival.ca.

Pre-Show Workshops customized to your students' needs and interests are available from 10-11 a.m. or 11 a.m.-noon before selected matinées. $10 per student. For more information, visit  stratfordfestival.ca/Workshops.

Half-Hour Post-Show Chats with cast and creative team members are available after selected matinées. $3 per student. For more information, visit stratfordfestival.ca/Chats.

TOOLS FOR TEACHERS SPONSORED BY

Tools for Teachers includes InterACTive Preshows, Study Guides and Stratford Shorts.       

THE 2024 SEASON IS SUPPORTED BY OPHELIA LAZARIDIS.

 PROUD SEASON PARTNERS:

PRODUCTION SPONSORS:

LAURIE J. SCOTT

PETER & CAROL WALTERS

SUPPORT FOR EDUCATION INITIATIVES IS GENEROUSLY PROVIDED BY THE ESTATE OF NOELLE SAVILLE, LAURIE J. SCOTT AND AN ANONYMOUS DONOR.