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June 22 - July 31, 2016

La Cage Aux Folles

Music & Lyrics by Jerry Herman
Book by Harvey Fierstein

This Tony Award Winning musical remains one of Broadway's all time biggest hits! 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, narcissistic 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. Musical numbers include With You on My Arm, I Am What I Am and The Best of Times is Now.


LA CAGE AUX FOLLES, the smash hit Broadway musical opens at Camelot on June 22nd and runs through July 31st. Written by Harvey Fierstein, Jean Poiret and Jerry Herman, the original 1983 Broadway production received nine nominations for Tony Awards and won six, including Best Musical, Best Score and Best Book. LA CAGE was later turned into a popular movie, The Birdcage, starring Nathan Lane and Robin Williams.

The show features songs by Jerry Herman including “I Am What I Am” and “Song on the Sand”, and some hilarious situations. LA CAGE is an old fashioned love story wrapped in feathers and sequins, sprinkled with glitter and tied with a bow. This funny and warmhearted farce about love, compassion, acceptance and being true to oneself will appeal to audiences of all ages.

The charmed lives of Georges, the suave owner, and Albin, his high-strung star performer, are turned upside down when George’s son, Jean-Michel, returns with his fiancée, Anne. Cultures collide as Georges and Albin are introduced to Anne and her ultra-conservative parents in this uplifting Broadway musical.

Directed and Choreographed by Rebecca Campbell and Musical Direction by Karl Iverson, the show features David King-Gabriel as Albin and Alex Boyles as Georges, Zaq Wentworth in the role of Jean Michel, and Grace Peets is Madame Dindon. Other cast members include; Bob Brazeau, Shannon Carter, Jonny Degner, Haley Forsyth, Olivia Harrison, Jacob Hastings, Rigo Jimenez, Kathleen King, Joey Larimer, Eoghan McDowell, Andrew Pena, Reece Rush, Jack Seybold, Lillie Shepherd, Soplie Stricker, Kendra Taylor, Tootsie West and Brad Zentgraf.

SPECIAL DEDICATION: LA CAGE has become an anthem for every human being’s expression of individuality, and a source of strength and inspiration for so many people. In solidarity and sympathy Camelot dedicates this production to the Orlando massacre victims and their families.

LA CAGE AUX FOLLES starts at Camelot on June 22nd, with a Benefit Performance for Southern Oregon Hospice, Previews on June 23rd, and opens Friday, June 24th. The Pay-What-You-Can performance is Wednesday, June 29, with a Director’s Night performance on July 1st. The production runs through July 31st.

SPECIAL EVENTS: Camelot has added 3 Summer Fun performances on Mondays; July 11th, 18th and 25th. Guests are encouraged to come in LA CAGE themed costume and will be entered in drawings for future show tickets.

Tickets for LA CAGE range from $18 - $36, and are available by phone at 541.535.5250 or online @ Rush tickets are available for $18, 10 minutes before performances. Performance times are Sunday matinees at 2pm, and evening performances are Thursday thru Saturday at 8pm. There are 3 extra evening performances for this show on Monday July 11th, 18th and 25th at 8pm.


Alex Boyles ~ Georges
Alex Boyles (a member of the Equity Membership Program) was last seen as Oscar in Sweet Charity and has been working as an understudy with OSF for the last two years. He holds an MFA in Acting from The Ohio State University. Previous roles include Edgar in King Lear, Matt in Red Light Winter and Radames in Aida.

David King-Gabriel ~ Albin
David King-Gabriel started out as a rock-n-roll drummer, then a singing drummer, then a singer, then a singing actor. He studied briefly at the Actor's Studio in Seattle. King-Gabriel has done many lead roles at Camelot, including vocals for Spotlight on Simon and Garfunkel, Max in The Producers, Jean Valjean in Les Miserables, Tevye in Fiddler on the Roof and Judas Iscariot in Jesus Christ Superstar. King-Gabriel has also appeared locally with Rogue Opera and OCT. His original musical comedy, Divine Lunacy, debuted this past Fall at Temple Emek Shalom.

Grace Peets ~ Anne Dindon
Grace Peets, a Camelot Conservatory alum, was most recently seen in Sweet Charity, as Laurey Williams in Oklahoma!, and an Apostle in Jesus Christ Superstar. Her favorite roles include Audrey in Little Shop of Horrors, Cinderella in Rogers and Hammerstein's Cinderella, and Constanze in Amadeus. Peets has been studying music and enjoys singing and competing in classical opera.

Zaq Wentworth ~ Jean-Michel
Zaq Wentworth is ecstatic to be a part of such an amazing show! You may have recently seen Wentworth in the ensemble of Oklahoma! at Camelot, as Harry in Chicago at the Randall Theater, or as Angel in Rent with Thanks for the Memories Theatre. He has also been a performer at OSF's Daedalus Project.

La Cage Aux Folles

La Cage 1


King-Gabriel rules 'La Cage' Camelot's comedic musical romp shows theater in peak form

By Jeffrey Gillespie For the Ashland Daily Tidings; Posted Jun. 28, 2016 at 6:38 PM

My, my, my. Camelot Theatre is full of surprises.

After a string of great productions, the company gave us a moment of pause with their lackluster production of "Inherit the Wind" in May. Now, they've come roaring back to their regular standard of glitzy, crowd-pleasing musical theater with a juicy and delightful production of that campy stage classic, "La Cage Aux Folles." In fact, this production is as good a show as anything your critic has seen at Camelot since he started including them in his reviews.

Set in a hedonistic French nightclub that shares the same name as the title of the show, this comedic romp through a genderqueer universe is populated with gorgeous boys and girls in all shapes and sizes; the costuming by Michael Leon is skillfully executed, and, as one would expect, it was difficult to tell where the ladies began and the gentlemen ended.

Acres of feather boas, sequined gowns and exposed garters accompany myriad sexy dance numbers wherein young, campy flesh is paraded to titillating effect before an appreciative audience. Camelot continues to shine with this sort of production; director and choreographer Rebecca K. Campbell is a treasure, and should be afforded a good deal of rein by the powers-that-be at Camelot, should she continue to deliver productions of this caliber.

At the center of all the bawdy burlesque, there is a love story; one between the discreetly gay Georges (Alex Boyles) a nightclub owner, and his lover and main act at the club, the flamboyant and endearing Albin, played with relish by David King-Gabriel.

Let's dig into Mr. King-Gabriel's performance for a moment. With very few exceptions, this show is populated with talented and enthusiastic actors who are right on point. But King-Gabriel is a marvel; so much so that your critic begins to wonder why Camelot continues to call itself a "semi-professional" theater. As Albin, King-Gabriel is unrecognizable from previous roles at Camelot. Hidden under a plethora of fantastic wigs and gowns, he has transformed himself into a glorious, sensitive old diva, filled with the pathos of the aging artist, while at the same time knocking his musical numbers out of the park with a gusto that anchored the entire production.

King-Gabriel is disturbingly sexy as a man playing a woman, who then also briefly plays a man. The performer has disappeared into the performance. When I watched King-Gabriel as Albin, interacting with his employees, family, and "long-time companion," what I saw was a woman-of-a-certain-age coming to terms with the process of that aging. King-Gabriel has grown as a performer, and while his song and dance numbers were really good fun and wildly entertaining, your critic is not ashamed to admit that there were moments in the show — specifically, when Albin and Georges walk the promenade together, still much in love despite the trials through which they have lived over the years — when he looked to his own partner and felt his heart open in a way that is all too rare a response to musical theater, indeed to any sort of theatrical production.

Given the recent events in our society, it was touching and lovely to see King-Gabriel take his craft and make it into an homage to what really matters — love, in any and all of its forms. It's clear that he is walking the line between effective Method acting and a capacity for sweetness and humor that absolutely made the show. We love him, we wanted to be him. His performance is a triumph.

Alex Boyles, too, is great as the "straight" man to King-Gabriel's campy diva … well, as straight as you can get as part of "La Cage." Mr. Boyles is a good actor who has the stage-sense to operate as a container for his over-the-top spouse. Rigo Jimenez, playing the couple's butler (who insists he's a "maid") is a hell of a lot of fun to watch as he rockets around in an assortment of zany outfits, including a Louis XIV inspired powdered wig and a French housekeeper ensemble.

When Georges' son, Jean-Michel, shows up (his one sexual dalliance with a woman, years ago, led to that circumstance) all hell breaks loose when it is discovered that his fiancee is the daughter of an ultra-conservative French politician and his stiff little wife. Zaq Wentworth is persuasive as the slightly entitled and apple-cheeked Jean-Michel, and Grace Peets (who your critic expected to see playing one of the more bombastic denizens of "La Cage") gives a fine-tuned performance as his young and willful, if rather staid, fiancee.

Hilarity ensues when the new fiancee and her stodgy parents come for a visit at the flat of George and Albin, followed by a trip to a local dinner club filled with suspect characters who are lead in their debauchery by Jacqueline, the owner of the establishment and the only person in the show who is sufficiently narcissistic and catty to really take Albin to task.

Jacqueline is played by Kendra Taylor, a Camelot alum who has been absent of late and returns to this small role with relish; her character is confrontational, pouty and petulant in the most French of ways, pouncing on and skewering the conservative pretensions of her friend's guests. Ms. Taylor, who could easily have turned into stage parsley in this production, was having none of that. She makes hay. The Cagelles (the "folles" of La Cage Aux Folles) are full of familiar Camelot faces, and their dance numbers and energies are a delight that fills up the stage and links the more quiet moments of the show together. Overall, Camelot's "La Cage Aux Folles" is one of the best things the company has done in ages; it more than confirms the fact that a post-Genise Camelot is not going to be dropping the ball on quality productions and, as such, your critic is gratified indeed to highly recommend this splendid show. Throw on a little more mascara and get thee to Camelot for a night of gaiety and raucous good fun.

Warmhearted "La Cage" keeps it light and bright Camelot Theatre's production big on choreography and laughs

By Bill Varble for the Mail Tribune; Posted Jun. 26, 2016 at 12:01 AM

Wow. "La Cage Aux Folles" looks and sounds like a feel-good musical should: bright, brassy, flashy, full of sound and furious color and nothing too heavy.

In Camelot Theatre's new production of Harvey Fierstein and Jerry Harmon's 1983 musical comedy about a domestic crisis in the lives of the gay couple who run a drag revue nightclub, the odd-couple partners, Georges and Albin, are played by Alex Boyles and David King-Gabriel, whose chemistry gels nicely in the show's warmhearted world.

Directed with elan by Rebecca K. Campbell, the show has a split personality, switching back and forth between the The Riviera, the drag show club, with its Cagelles and their lively dance routines, and the adjacent apartment where the family drama plays out. Twenty-four years ago, just before Georges and Albin partnered up, Georges became the father of a baby boy through a one-time dalliance with a chorus girl. Georges and Albin raised the boy, Jean-Michel (Zaq Wentworth), and Albin has loved him like a mother.

The plot's inciting incident is the impending visit of M. Dindon (Jack Seybold), a rich, right-wing, family-values politician and his wife, Marie (Kathleen King). The couple's daughter, Anne (Grace Peets), has agreed to marry Jean-Michel. The catch is that in order to get her parents' consent to the match — and Marie's sizable dowry — the Dindons must approve of Jean-Michel's family in the visit to their home. That would be the maroon marble flat linked to the drag show club, where the walls are covered with homoerotic (but not pornographic) art, and where Albin flounces around in high heels and a turban, his face a mask of rouge and mascara.

The dual structure lets us move back and forth between spectacle and narrative, and there's just enough of the latter to give plenty of stage time to the former. That's where we open, with Georges as the club's master of ceremonies and the Cagelles, the clubs resident dance troupe, proclaiming "We Are What We Are."

The choreography, also by Campbell, is effective and occasionally stunning, as when Albin and the Cagelles perform the dance number "La Cage aux Folles." The show's signature tune, the affirming "I Am What I Am," sung by Albin, shows up just before the intermission. Meanwhile, back at the apartment, there are complications. Georges tries to teach the flamboyant Albin how to act "masculine." Albin camping it up in a John Wayne imitation is one of the play's funniest moments. But as the family straightens up its act, the insecure Jean-Michel wants Albin out of the place for the Dindons' visit (hurt feelings alert).

A lot has changed since "La Cage" wowed Broadway in 1983 (not to mention since Jean Poiret's play, on which the musical is based, debuted in 1973). This is an LGBTQ world that's comfortable for audiences to enter. It was written that way 30-something years ago, when it was Broadway's first musical with out gay characters as the leads.

You'll probably remember boas-and-sequins flash factor — the drag queens, the dancing, Brian O'Connor's projections, the music performed by a live, five-piece band — after the minimal story begins to fade. What do Georges and Albin have at stake in the big crisis? The loss of Marie's dowry is not the stuff of tragedy.

The characters are thinly drawn, and most of the humor is situational. Boyles is a strong Georges, and King-Gabriel, who can apparently do anything onstage, endows Albin with humor and pathos.

Rico Jimenez is a hoot as Jacob, the butler who insists on being a maid, and Kendra Taylor shines as high-spirited restauranteur Jackqueline. Wentworth's Jean-Michel is a wimp who gets some spine when he finally gets the play's theme: that we all are who we are, and life is about being true to oneself.

Camelot Theatre's La Cage Aux Folles: FABULOUS! Camelot's Best Ever!

by Lee Greene for Performance Reviews

Camelot Theatre opened its production of the musical, La Cage Aux Folles, on Friday, June 24, which will run through July 31. Let me cut to the quick: This is the best show I’ve seen at Camelot and that covers a lot of shows, including some great ones, going back quite a number of years, all the way to when they were still performing in the old converted barn that used to house the company. This production of La Cage Aux Folles at Camelot Theatre features fabulous performances by a great cast, uniformly terrific music – vocals and accompaniment, with great sets, gorgeous costumes, fantastic make-up, and superior theater tech/stagecraft. This show IS sure to have a sold out run, it’s THAT good. By now, there have doubtless been a full complement of reviews published in print, preceding this one (they all appear in the next morning’s paper, affording those other hard working journalists less time to research, prepare and write than what I have the luxury of), and I’m confident that they will ALL celebrate this production as a glorious hit (though I studiously avoid reading anyone else’s review before mine is published). Consequently, there may already have been a run on tickets and a near sell out by the time you’re reading this. So put this down, go online now to order your tickets, and then come back to read the rest of this review to learn the details about this fabulous show.<p>

La Cage Aux Folles, if you are one of the few who are unfamiliar with it, was originally created as a French play in 1973 by Jean Poiret. The storyline centers around a gay couple, Georges, who manages a nightclub, La Cage Aux Folles (“The Cage of Queens”), in Saint-Tropez featuring drag entertainers, and Albin, his effeminate partner, who is the star entertainer at the club, female impersonator, “Zaza”. The pair live in an apartment adjacent to the club. Georges has a 24 year old son, Jean-Michel, fathered during a one night heterosexual liaison, but raised by the gay pair. Jean-Michel has just been engaged to the daughter of an ultra-conservative homophobic politician, and brings the fiancé and her parents home to meet his “parents”,  requesting that his father pretend to be straight, their risqué appointed apartment be redecorated in a more modest conservative style, and his “mother” Albin, absent himself temporarily to avoid problems with the in-laws-to-be. Instead Albin appears at the in-law introduction in his best female impersonation as Georges’ wife and Jean-Michel’s mother, until he flips his wig and is found out, creating the havoc that Jean-Michel wished to avoid. There’s more to the story, leading to its happy ending, but that’s enough for here. You should be able to see the potential for much hilarity, from the drag performances of the club entertainers, the unconventional “parental” couple, and their interactions with the conservative in-laws. If you don’t already know what happens, you’ll learn in due time, when you go see the show at Camelot. (You did already get your tickets, didn’t you?)<p>

The play was adapted into a very popular Franco-Italian film comedy in 1978 (nominated for 3 Oscars), which is how most people became familiar with the show. The film was remade in an American version in 1986, titled The Birdcage, by director Mike Nichols, and starring Robin Williams in the Georges role and Nathan Lane as female impersonator, Albin. More importantly for the current show, the story was adapted to a Broadway musical in 1983 with a book by Harvey Fierstein and music and lyrics by Jerry Herman. That musical is the show being run atCamelot.<p>

Now, turning to the Camelot production: the performances, by a large cast, are just extraordinary across the board. Kudos must begin with David King-Gabriel, who gives a career highlight performance as female impersonator, Albin (“Zaza” on the La Cage stage). King-Gabriel enters the show in drag and pretty much remains that way throughout, except for a few moments when his performance calls on him to embody an effeminate gay vainly struggling to try to be manly without much success. His performance is wonderful, hilarious, captivating and bravura. He absolutely succeeds in selling the persona of Albin, (“Zaza”), the effeminate, gay impersonator, drag queen, and has the audience laughing and applauding in scene after scene. His acting is spot on, gestures, movements, expressions that all fit the character. He is called upon for most of the show to speak (AND sing) in a feminine voice and pulls it off really well. All of this is facilitated and enhanced by fantastic makeup from the mascara, eyeliner and rouge right down to the polished nails,  and great costumes – gowns, robes, wigs, headware, earrings, necklaces, boas, heels, etc. If for no other reason, one must get to this show to see this performance.<p>

But that’s far from the only terrific performance in this show. Alex Boyles plays Georges to King-Gabriel’s Albin, and is equally fabulous.  Boyles gives us the not-so-straight straight man to King-Gabriel’s drag queen and does so with great acting, wonderful singing, and most importantly, totally believable, heart-string tugging exceptional rapport with King-Gabriel (and ALL the other members of the cast – his son, drag queens, nightclub staff, restauranteurs, the conservative in-laws . . . ).<p>

In any other show, two outstanding leads would be enough to produce a hit, but in this production of La Cage Aux Folles, it’s just the beginning. Albin has an ever-present butler, Jacob, who fancies himself a maid and cross-dresses to accomplish that. Jacob is present in the vast majority of scenes, and played by Rigo Jimenez, in his 10th and I must say best Camelot role. Jimenez is absolutely hilarious as the cross-dressing Jacob, in fantastic gowns and make-up. Even when required to be more a butler than a maid, for the conservative in-laws’ visit, he appears in an over-the-top 17th century French courtier costume. Jacob gets some of the best and funniest lines in the show, well delivered by Mr. Jimenez, and plenty of funny shtick as well – surely not all of which was scripted, with the result that Jimenez nearly succeeds in stealing most of the scenes Jacob appears in. So okay, you need to get to this show to see at least three performances: David King Gabriel’s, Alex Boyle’s AND Rigo Jimenez’s.<p>

But we’re still nowhere close to finished discussing outstanding performances. Young (but experienced, at Camelot previously in Oklahoma, in Chicago at Randall Theatre and more) Zaq Wentworth plays the much put-upon “normal” Jean-Michel trying to cope with his outlandish gay parents and the equally trying conservative in-laws-to-be. It is a fine performance, notable in his success in holding his own on stage opposite the incredible performances of King-Gabriel and Boyles as his gay parents. Wentworth also does a very nice job singing and dancing, especially  on the song, With Anne on My Arm. Which brings us to the next fabulous performance: Jean-Michel goes to great lengths to explain to his “queer” parents how he has fallen in love with a woman, and become entranced with the fantastic Anne. Then Anne enters, in the person of Grace Peets, the very definition of lovely. Ms. Peets, a Camelot Conservatoryalumna, can act (previously on good display in Camelot’s Amadeus), sing like an angel (heard inCamelot’s Oklahoma) and dance (Sweet Charity). It’s a wonder that the whole world (of straight men) hasn’t been entranced by Anne, as portrayed by Ms. Peets. I just wish someone would find Grace Peets a suitable leading role in something where all her talents could be used to good effect; it seems like the Camelot people keep under-utilizing her in minor roles. (Come on Roy!)<p>

Four paragraphs and I’m not even half done with kudos for outstanding performances. (So much for “try to keep the reviews short please!” LOL!) Next we need to mention the Cagelles, the club’s roster of “female impersonators” in this production, half of them males impersonating females, the other half females impersonating male impersonators. ALL of the Cagelles, male and female give fine performances; there’s not one bad one in the bunch. Let’s touch on some of the notables. The best of the men in drag is Reese Rush performing as “Hanna from Hungary”. He appears most of the time with a dark wig and attractive makeup, attired in black leather corsets and black leather slacks, wielding a formidable whip. Hanna is THE most seductive of ALL the Cagelles, male and female, and one wouldn’t suspect Hanna’s not really a woman, if you met her on the street, and didn’t know better. Also notable among the men in drag is Andrew Pena as Phaedra, providing another very well done female impersonation – especially Phaedra’s flirtatious wagging of the tongue. The rest of the men in impersonator roles are all great too – tall, thin Mercedes (Joey Larimer) and Chantal (Eoghan McDowell) create unforgettable and favorable impressions as beguiling Cagelles. The other half of the Cagelles were actresses impersonating male impersonators.  The best of the women Cagelles was Kendra Taylor, in a dual role also as Jacqueline the restaurateur and not even credited as a Cagelle. But there she was on stage with the Cagelles , in a pink outfit cooing provocatively and leaving an indelible impression. Taylor was terrific as Jacqueline too – she sang wonderfully including a duet with Zaza, and had some important scenes for advancing the plot, which she nailed! I have to applaud the rest of the women in Cagelle roles as well: long-legged and lovely Shannon Carter as Derma, dark haired alluring Olivia Harrison as Paulette, and not least, the multitalented Haley Forsyth ever present as Angelique, including an irresistible turn in an eye-popping Egyptian costume in one scene, and also dancing front and center in the 2nd Act’s Masculinity number.<p>

Not done yet. Jack Seybold appears as the put-upon conservative politician and father of Anne, and gives a very amusing performance, rising to considerable hilarity when he appears in a role in the La Cage club’s Finale. Kathleen King as his wife  and Anne’s mother, Madame Dindon, is also very amusing. Among other bits, she really sells it and draws big laughs singing as a “not-so-good” amateur when pressed to join in song with star impersonator Zaza at a restaurant.<p>

There were others in this cast, and nary a poor performance from any of them. I must apologize for not mentioning them all, but I’m already going to be pounded for the length of this review and need to stop somewhere. As should be obvious from previous comments, the costumes in this show were amazing – the best ever at Camelot. So was the makeup – successfully turning a troop of men into alluring female impersonators. The sets were very effective, at depicting the locales for the scenes – the apartment, club, restaurants, beach, etc. As always, the sound was well done, all the speaking cast were wirelessly mic’d and the levels were always just right. As usual Camelot’s tech crew did a fantastic job; particularly in using projections to enhance the sets – paintings on the wall of the apartment, boats at the beach, etc. The music was exceptionally good throughout the show – everything was well sung, but very much facilitated and supported by a terrific band, especially percussion by Steve Sutfin – my notes include several points where the percussion really moved the show along and held things together, such as during the song, A Little More Mascara. Bruce Dresser had some nice trumpet solos too. Again, all the band contributions were superlative and I apologize for not mentioning them all, but need to at least try to keep it short.

Two more things I feel compelled to mention. One, some people (of conservative persuasion akin to the in-laws-to-be in this show) may be wary of this show because it deals with a controversial subject (gays, gay parents, drag clubs with drag queens, etc.) I took the precaution of bringing a good church-going Christian friend with me to the performance, and inquired afterwards if there was anything objectionable during this show. The response, “No, there really wasn’t anything objectionable during this show” was not a surprise to me, as there were no overt displays of homosexuality in this show. There was no “touching” or simulated sexuality and the only kissing was by Jean-Michel kissing fiancé Anne (creating envy among a few red-blooded American males I suspect) and restaurant owner Jacqueline doing an innocent buss on both cheeks in the stylized French greeting. Perhaps it’s not a good show to bring very young children to because of the subject matter. But it’s certainly safe for adults and savvy adolescents.<p>

Two, this is the 2nd show under the leadership of new Camelot artistic director, Roy Rains, and I suspect the first where he had complete control from start to finish. It is amazing and wonderful that so early in his tenure, he would lead the company to what I confidently assert is the best show I’ve ever seen by this theatre company. Mr. Rains deserves acknowledgement for this accomplishment – great work Roy and please keep it up. Of course, the director of this show also deserves kudos for producing such a successful hit – Rebecca Campbell, my hat’s off to you! BTW – I asked Roy Rains for a comment about the show before the performance began, and his comment was that the show is “FABULOUS”. He was right and that’s where the description in this review’s title came from.<p>

Performances of La Cage Aux Folles continue through July 31 at Camelot Theatre, 101 Talent Avenue, Talent, Thursday thru Saturday 8:00 pm, Sunday Matinees 2:00 pm. For tickets: order online or call the box office at 541-535-5250, or in person at 101 Talent Avenue, Talent, Oregon.