Josh Walden and Cast Photo by Mikki Schaffner

Conservative Covington, Kentucky, might not be where you'd expect a rousing reception for a production of La Cage aux Folles, but that's precisely what's happening at The Carnegie with an invigorating staging by Rachel Stevens, a musical theatre professor at the University of Cincinnati's College-Conservatory of Music (CCM). It was no small task to assemble a staging of this glittering show on The Carnegie's cozy stage, but with Tyler Gabbard's spectacular scenic design and Julie Cowger's sparkling lighting design, John Faas's eye-popping, rainbow-colored costumes, and the incredibly architectural wigs designed Kora Sline and Candace Leyland, this production lives up to its glam past. With breathtaking choreography by Broadway veteran Josh Walden–using the Carnegie's intimate stage as well as the theater's aisles–this staging of La Cage is a worthy replica of the show's Broadway roots.

Walden is, in fact, a moving force and sparkplug for the show. They performed as a Cagelle in the 2004 Broadway revival, and they have built on that experience to play Albin, the nightclub's star and high-strung romantic partner of Georges (Kevin Kelly), the pragmatic club owner. Walden spent the 2025-2026 academic year as a CCM artist-in-residence, and their choreographic experience is on display here. But so is their fine acting: Their rendering of "A Little More Mascara," as they transforms into the revue's star "Zaza," gives their character a solid emotional base, well beyond a comic superficial makeup job. Their comedic efforts at "Masculinity" offer high humor, but their fierce personal rendition of "I Am What I Am" to close the first act underscores Albin's honest nature.

Jacob Priddy's music direction gives the band–keyboards, woodwinds, trumpet, trombone, bass, and percussion–an expansive sound that feels like much more than eight musicians. It's entertaining to be able to see them split between a pair of balcony platforms to the left and right of the stage and watch them occasionally interact with the cast members. Sean Miller-Jones plays a humorously beleaguered stage manager who struggles to keep the stage show on track, even as he's increasingly entangled with a whip-cracking Cagelle.

Several of Stevens' CCM students are in this production, including Jack Haroutunian as Jean-Michel, Georges' straight, earnest son whose desire to marry sweet Anne (Arden Allmon, also CCM) provides the complication that drives the show's comic engine. The young lovers' duet, "With Anne on My Arm," becomes a lovely prelude to a reprise by Albin and Georges, "With You on My Arm," which frames love between a pair of caring people into a meaningful and larger context.

Director Stevens has thrown her casting net broadly, with the half-dozen Cagelles who are musical theatre products from CCM, Connecticut, Florida, North Carolina, Boston, and Syracuse. Kelly, who makes Georges a kind, even-tempered if occasionally exasperated manager, is a wonderful singer and a respected professional from Central Florida. Max Cadillac turns in a hilarious, arch performance as Jacob, Georges' maid/butler. Cincinnati-based professionals Sarah Folsom and Denton Yockey play Anne's starchy, conservative parents–who are eventually won over.

The show's fundamental success is built upon the palpable chemistry between Walden's Albin and Kelly's Georges. They both have fine voices for the show's most romantic number, "Song on the Sand," and Kelly's forceful performance of "Look Over There"–scolding Jean-Michele to recognize that Albin has been truly a devoted parent–is especially affecting. But Walden's performance of the rousing finale number, "The Best of Times," which builds momentum until the entire audience is singing along, is a perfect way to send everyone home humming.

La Cage aux Folles runs through August 23, 2026, at The Carnegie, 1028 Scott Street, Covington KY. For tickets and information, please visit www.thecarnegie.com or call 859-957-1940.