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La Cage aux Folles - Full Length Musical, Comedy

La Cage aux Folles

Harvey Fierstein, Jerry Herman, Jean Poiret

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Full Length Musical, Comedy

7m, 3f

ISBN: 9780573703317

PLEASE NOTE: This title is restricted and may require clearance before a license is granted.

Book by Harvey Fierstein
Music and Lyrics by Jerry Herman
Based on the play by Jean Poiret

Much revived, most recently in a 2010 production transferred to Broadway from London's Menier Chocolate Factory, La Cage Aux Folles remains one of the all time biggest hits, adding new dimension to the boulevard comedy.

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Full Length Musical


Romantic Comedy

Time Period - 1980s

Settings Of Play - St. Tropez, France. Summer.


Unit Set/Multiple Settings, Opportunity for Spectacle

Contemporary Costumes / Street Clothes


Adult, Senior


College Theatre / Student, Community Theatre, Professional Theatre


Tony, From Broadway

WINNER! Best Revival of a Musical - 2010 Tony® Awards!
WINNER! Outstanding Revival of a Musical - 2010 Outer Critics Circle Award
WINNER! Outstanding Revival of a Musical - 2010 Drama Desk Award
WINNER! Best Revival of a Musical - 2005 Tony® Awards!
WINNER! Outstanding Revival of a Musical - 2005 Outer Critics Circle Award
WINNER! Outstanding Revival of a Musical - 2005 Drama Desk Award
WINNER! Best Musical, Best Original Score, and Best Book of a Musical - 1984 Tony® Awards!
WINNER! Outstanding New Broadway musical - 1984 Outer Critics Circle
WINNER! Outstanding Music - 1984 Drama Desk Award
Much revived, most recently in a 2010 production transferred to Broadway from London's Menier Chocolate Factory, La Cage Aux Folles remains one of the all time biggest hits, adding new dimension to the boulevard comedy. After twenty years of un-wedded bliss Georges and Albin, two men partnered for better-or-worse get a bit of both when Georges' son (fathered during a one-night fling) announces his impending marriage to the daughter of a bigoted, right-wing politician. Further complicating the situation is the 'family business': Albin and Georges run a drag nightclub in St. Tropez, where Albin is the "star" performer 'Zaza'. Georges reluctantly agrees to masquerade as "normal" when he meets the family of the bride-to-be. But Albin has other plans, with hilarious results.


"This is Jerry Herman's best musical yet--happier, more assertive, more buoyant than
Hello Dolly! or Mame." - The New York Post, Read More

"The schmaltziest, most old fashioned major musical since Annie. Highly enjoyable." - The New York Times, Read More

"Carry your maiden aunt off to La Cage aux Folles...It's a family show, a glittering, fast stepping extravaganza."-New York Daily News, Read More


LA CAGE AUX FOLLES: A Musical Theatre Lover's Dream
by Ashley Moniz
April 1, 2015

We Are Who We Are: A Lovefest with LA CAGE AUX FOLLES
by Shawn Churchman
July 27, 2015

LA CAGE AUX FOLLES opened at The Palace Theatre in New York City on August 21, 1983. It was directed by Arthur Laurents.


7m, 3f


Drag performance, Expandable casting, Flexible casting, Room for Extras, Strong Role for Leading Man (Star Vehicle)


Plus a chorus of 10 males and 2 females



ALBIN: Male 45-55 (Range: Baritone, A#2-G4)
A performer of star quality; mature; great powerhouse of a Broadway voice; fine comic actor

GEORGES: Male, 50’s (Range: G2-F4)
A star; mature and attractive; good singer; energetic, loving and caring; must move well

JEAN-MICHEL: Male, 20 (Range: Baritone, A#2-G4)
Handsome; brunette; masculine, well-mannered, educated; desperately in love with his fiancee, Anne; acts, sings, and moves well

JACOB: Male, Early 20’s (Range: Bb2-Ab4)
Black male butler/maid; brilliant comedian who sings and moves well

ANNE: Female, 18-21 (Range: Ensemble, Part Flexible)
Jean-Michel's fiancee; lovely to look at; spunky; a superb dancer who acts well

EDOUARD DINDON: Male, Early 50’s (Range:Bb2-Eb4)
Anne's father; right-wing radical politician; pompous; quirky; must sing, move well, and be a fine comedian

MARIE DINDON: Female, Late 40’s (Range: F4-A5)
Anne's mother; 48-52, shy, retiring, sexually repressed and sex-starved; good singer and actress who moves well; must look great in a leotard for the finale

JACQUELINE: Female, Middle Age (Range: B3-F5)
Mature, female friend of Georges and Albin; owns a chic restaurant; attractive, charming; very theatrical; not necessarily a singer

RENAUD: Male, Middle Age (Range: Ensemble, Part Flexible)
Mature, male friend of Georges and Albin; owns a small cafe; understudies both of the 2 leads

FRANCIS: Male, 40’s (Range: Ensemble, Part Flexible)
Male stage manager in Georges' club; strong actor/dancer

THE LES CAGELLES (Range: Ensemble, Parts Flexible)
Chantal, Monique, Dermah, Nicole, Hanna, Mercedes, Bitelle, Lo Singh, Odette, Angelique, Phaedra, Clo-Clo

TOWNSPEOPLE (Range: Ensemble, Parts Flexible)
Madame Renaud, Paulette, Hercule, Etienne, Babette, Colette, Tabarro, Pepe

Rental Materials




Classic Broadway



1 Piano/Conductor/Keyboard 2
20 Vocal Chorus Books

Woodwind 1 ( Flute, Soprano Saxophone, Bb Clarinet)
Woodwind 2 ( Bb Clarinet, Alto Saxophone, Bb Bass Clarinet)
Drums (Drum Kit, Timpani, Triangle, Shaker, Wood Blocks, Gong, Glockenspiel)
Keyboard 1
Double Bass
Song Samples


We Are What We Are

A Little More Mascara

With Anne On My Arm

With You On My Arm

Song On The Sand

La Cage Aux Folles

I Am What I Am


Song On The Sand (Reprise)


Look Over There

Cocktail Counterpoint

The Best of Times

Look Over There (Reprise)

La Cage Aux Folles (Reprise)


  • La Cage Aux Folles - 2010 Tony Awards

  • La Cage Aux Folles - Playbill Highlights

  • I Am What I Am - Douglas Hodge

Harvey Fierstein

Harvey Fierstein

Harvey Fierstein made his professional acting debut at La Mama ETC in 1971 in Andy Warhol's only play, Pork. He followed that with appearances in more than 60 Off-Off-Broadway productions before he began his career as a playwright. Early works like Flatbush Tosca and Cobra Jewels led to his underground hit, Torch Song Trilogy, which transferred Off-Broadway in 1981, and then to Broadway in 1982, ... view full profile

Jerry Herman

Jerry Herman

Hello, Dolly!, Mame, and La Cage Aux Folles are home to some of the most popular, most-often performed and most successful musical hero(in)es of all time, and have given Jerry Herman the distinction of being the only composer-lyricist in history to have had three musicals that ran more than 1,500 consecutive performances on Broadway. His first Broadway show was Milk and Honey (1961), followed by ... view full profile

Other Jerry Herman titles:

Now Playing
Zachary Hollwedel 4/24/2013 11:05 AM
La Cage aux Folles, book by Harvey Fierstein and music and lyrics by Jerry Herman, based on Jean Poiret’s play, is fun and upbeat (most of the time) and hits all the right notes for laughs, entertainment, and spectacle – much like the girls in the nightclub do on a nightly basis. It infuses drama with levity seamlessly and offers more than its share of memorable tunes and moments.

However, there’s one nearly insurmountable flaw, and that is Jean-Michel’s treatment of Albin, his father’s long-time lover and adoptive father. His request to have Albin retreat from the family for a night in order to hide the secret of who and what his parents are is practically unforgivable. Granted, the request is the setup for much of the humor – drag, mistaken identities, farce and fabulations aimed at deceiving a conservative family of future in-laws – but it is also an inherently cruel one. Albin is Jean-Michel’s parent just as much as Georges is, and far more than Jean-Michel’s mother is, so the notion that he can be dismissed for an evening is hard to digest.

Albin’s nature as the center of attention and the endearing clown make it easy for the other characters to forget that he has depth and feelings, but even the most superficial interaction makes his pain readily apparent. Albin’s poignant and pointed “I Am What I Am” sheds a light on his inner turmoil that the ensemble seems not to see, and which his son refuses to acknowledge.

La Cage is glitzy and fun on a scale many other musicals fail to achieve, and at the end of the day, it leaves on feeling unburdened and buoyant. Still, the ghost of Jean-Michel’s betrayal of Albin, while dispensable for the enjoyment of the musical as a whole, lingers ever-present throughout.

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