You're dying to know, we know: Forget the paying audiences, what do the critics think? (That critics do any actual thinking—a question raised by many an actor, director, writer, choreographer, producer and production caterer—is a separate discussion entirely.)
You've doubtless been wondering since earlier this month, when Las Vegas' own Robert Goulet stepped onto the stage of Broadway's Marquis Theatre and into the role of Georges, owner of a Riviera drag palace—no, not our Riviera, the other Riviera—and butch partner of Albin (Gary Beach), the club's flamboyant (is there any other kind?) drag-queen star, in La Cage aux Folles.
(Which is a revival of the 1984 musical ... Which provided the premise for the 1995 nonmusical adaptation, The Birdcage ... Which was preceded by the 1978 film ... Which spawned two sequels in 1981 and 1986 ... Which were all based on the French farce Birds of a Feather ... Who says there are no new ideas?)
Goulet, who assumed the role from actor Daniel Davis—after reported backstage backstabbing and juicy rumors that lubricated the city's gossip columns earned him an abrupt exit—has by most accounts brought a welcome, easygoing presence to a show throbbing with tension.
And though Vegas wasn't particularly kind to Bobby G. in 2001, when his concert showcase at the Venetian embarrassingly flopped to the point of nearly begging for customers, Broadway, his onetime home, seems glad to have him back. But Gotham theater critics, not known as a benevolent bunch, mixed some poison amid the praise.
Following are snippets from the most prominent reviews:
• The Hollywood Reporter: "When the dapper, well-dressed gentleman with the trademark mustache walks onstage at the Marquis Theatre, you can actually feel the wave of audience affection ... Goulet well demonstrates that he still possesses a vivid leading-man presence. Although he moves stiffly and looks more than a little cosmetically enhanced ... that mellifluous baritone remains a magnificent instrument ... Unfortunately, he also reveals a tentativeness in his performance ... He never fully succeeds in convincing us that he's become the character, seeming more like a Vegas singer who's wandered into a Broadway show and has to go through the laborious process of speaking dialogue before opening his mouth to sing."
• The New York Times: "At 71, and working with just one of his original hips, Mr. Goulet is, admittedly, not particularly agile. And he rarely strays too far from a solid piece of furniture. But his infirmity is not a serious drawback. In fact, it comes to invest his performance with a pleasing symbolism: he stands as a still beacon of determined restraint amid the frantic vulgarity that surrounds him."
• The New York Post: "Goulet's still radiant grin is in better shape than his joints, giving his movements rather less grace than before. But when he sings, or even speaks, the years fall away. His gorgeous voice seems untouched by time, and his dapper presence fills the stage."
• Variety: "Pass the Vicodin. Judging by the difficulty Robert Goulet shows in clambering up and down stairs or hauling himself in and out of chairs in La Cage aux Folles, the show's painkiller bill will soon be right up there with its depilatory wax tab. But while the new lead's voice might have lost some of its power with the passing decades, Goulet's lush baritone lends a mellow charm and his Vegas-style, gentlemanly elegance brings a welcome relaxed quality to a show that otherwise has slid into shrill sitcom mugging and hysterical door-slamming farce."
• Associated Press: "In an age of frantic, aggressive musical-theater performances, the laid-back Goulet doesn't push. His relaxed attitude nicely complements Gary Beach, who portrays Albin, the more flamboyant, hyper member of this union. Together, they make a perfect husband and wife."
• Newsday: "His singing is the only persuasive part of his performance. As a nightclub impresario coping with his son's unorthodox decision to marry a woman, Goulet delivers his dialogue without much force or commitment, and spends enough time looking at his palms to make you wonder if some of his lines are written there."
• Broadway.com: "Goulet has spent most of the past 40 years performing in Las Vegas, so he's right at home among the gaudy scenery and statuesque dancers."
• TheaterMania.com: "Goulet is playing the role and also, to some extent, playing himself playing the role. This may sound like a highfalutin Brechtian approach, but it ain't. It's just Goulet, who's always had a sense of humor about himself ... While his voice is still supple and forceful, he isn't much of a mover. ... Actually, he moves as if he's wearting a corset."
• The Newark Star Ledger: "While Goulet has starred on Broadway in only four previous productions during the last 45 years—two of them being Camelot, famously as Lancelot in the original and later as Arthur in a revival—his many TV appearances, extensive concert career and more than 60 albums certainly qualify him as show-biz royalty. So it's appropriate that the La Cage management has hired him to play a big queen."
• The Journal News: "... And he even delivers the kiss."
To be fair—and because he's Our Guy—we'll gave the Big Bobster the last word on his next move, post-La Cage, excerpted from this interview he gave to New York Newsday:
"I might be getting my own room in Vegas. I sing with a lot of orchestras—anywhere. No movies; like older women, it's hard to get parts. Since I tell so many stories, my wife wanted me to write them down. I've done about 15 pieces. And I tried painting acrylics. I've done about 15, and I'd say five are good. They're very bright.
"There's one with a three-headed monster dripping blood. I call it 'Critics.'"