Rounding out the 2026 New York City Center Encores! season is La Cage Aux Folles, which just opened last night, June 17. This final production of this Encores! season will run for 15 performances through June 28. The production is led by Director Robert O’Hara and Guest Music Director Joseph Joubert with choreography by Edgar Godineaux and tap choreography by Dormeshia, the Tony-winning La Cage Aux Folles by Harvey Fierstein (book) and Jerry Herman (music and lyrics).
Tony Award winner Billy Porter will star opposite stage and screen star Wayne Brady. The cast also features Encores! alum Alaman Diadhiou (Jean-Michel), James Jackson Jr. (Jacob), Tony Award winner Tonya Pinkins (Jacqueline), Rachel Webb (Anne), Peter Francis James (Edouard), Michael McElroy (Francois), Sharon Washington (Marie), and Lance Coadie Williams (Renaud).
Let’s see what the critics are saying…
Laura Collins-Hughes, New York Times: More psychologically nuanced than you might expect for what is ultimately a feel-good redemption tale, O’Hara’s interpretation appears to be in the process of finding itself. That makes this a fitful “La Cage.” It also makes me curious about what it might become.
David Gordon, Theatremania: The ultimate takeaway from Robert O’Hara’s La Cage aux Folles is that there are a lot of intriguing thoughts that have been prevented from cohering by the accelerated timeline. That’s why “The Best of Times” lands with such force. It’s not just a second-act showstopper, it’s a reminder of how glorious La Cage aux Folles can be when everything clicks. For five minutes, it truly does, and they really are the best of times.
Robert Hofler, The Wrap: O’Hara’s direction has also messed a little with Les Cagelles. Rather than a uniform group of dancers à la The Rockettes, each performer appears to be channeling either Mariah Carey or Rihanna or Madonna or Grace Jones or Sylvester. It’s no wonder that Edgar Godineaux’s choreography has trouble handling that herd of impersonators.
Jonathan Mandell, New York Theater: After leaving New York City Center, I looked again at the original French movie, which is available on Amazon Prime (there is also a 1996 American movie adaptation, The Birdcage, with Robin Williams and Nathan Lane.) There is something of a surreal tone to the presentation of Albin and Georges world,as if the filmmaker acknowledges it to be upside-down from reality. But also in this film version, it is not the son’s idea to have his parents pretend to be straight; his girlfriend inadvertently traps him into going along. This makes more sense to me, especially if this is now supposed to be taking place in the present. How can we be asked to accept a plot premised on such a cruel act by such an inexplicably callow young man? That same son, as it happens, offers one of the bright moments in a production that is colorfully designed, and carefully tuned, but is still finding its legs.
David Finkle, New York Stage Review: The ingredients on the City Center stage vary. Under Robert O’Hara’s direction, Porter and Brady—sometimes reading, often not—are at the forefront. James Jackson Jr. is a funny, light-in-the-slippers butler. Tonya Pinkins, as a flamboyant restauranteur-neighbor, steals a scene or two. James is properly turkey as the reluctant father of the bride, with Webb charming as the hardly blushing betrothed. As Jean-Michel, Diadhiou has his moments singing and tapping in delight at having Anne on his arm.
