Angel Llàcer brings joy to the stage with Cage of the Fools
With a program, a competition or a musical, Angel Llàcer pursues something deeply simple: they want to make people happy. The familiar face is already a staple on stage in its tenth season, and Llàcer has also co‑produced and directed projects with Manu Guix. He arrives at Alicante’s Main Theater on Thursday to present Cage of the Fools, and he will perform on stage every night through Sunday. The show, a grand musical adaptation of Jerry Herman and Harvey Fierstein, originated on Broadway in 1983. It’s been described as something akin to a massage for the soul.
It might feel surprising in the twenty‑first century to encounter a musical that openly celebrates freedom, addressing not only sexuality but the individual and the community as well.
The performer is clear about his aims. This isn’t a bid for personal glory; it’s about enjoying the moment. Loving, for Llàcer, is an ode to loving oneself and extending that love to others. He believes everyone should have the liberty to be who they wish to be. The real issue, he says, lies with those who try to curb that freedom. He has never claimed a single milestone in life; he follows his path, welcoming those who want to come along and dismissing those who do not. The show itself feels like a party—funny, charismatic, a classic in many ways—with live musicians, a full choir, and intricate choreography. The message is obvious, yet the emphasis is on loving the profession and loving theater. Viewers often interpret the message through their own lens, taking from it what they will.
Does Cage of the Fools encourage swimming against the tide or breaking the rules? Not at all. The production celebrates individuality. There is no enemy to defeat here; the game is about embracing a positive character and a life philosophy free of hostility. The run lasts about two and a half hours, filled with laughter, affection, humor, and compassion. It feels like a soul massage—the reason audiences keep returning and why people leave the theater feeling uplifted rather than offended.
People still recognize the performer behind the flagship song, I Am What I Am. The moment arrives toward the end of the first act when he appears and sings to a stunned, silent audience after a sustained round of laughter. That silence, followed by emotion and tears, marks a powerful shift in the room.
“I didn’t claim anything in my life, I followed my path and who wants to share well, who doesn’t, well nothing.”
Llàcer has also helmed Singing in the Rain, Little Shop of Horrors, and Cage of the Fools. What led him to take on this latter project, and what keeps him moving forward? Cage of the Fools began in 2018 and will continue for now, he explains, because a full schedule demands it. He notes that he cannot physically sustain every project, yet the collaboration process is essential. He works with a large team, all of whom contribute and blend ideas so seamlessly that no single contribution can be claimed by one person. He even has a son who once performed a role in his place and later directed himself. The family tradition continues as he looks ahead to new projects, including a return to Barcelona on Tuesdays to prepare a new show for the National Theatre of Catalonia titled The Little Prince, along with its accompanying production.
What makes musicals so universally appealing? Llàcer points to the power of music itself. The melodies can seep into the listener in ways words cannot, inviting the audience to hum along and to feel the music as much as hear it. The emotional pull of song is strong across generations; both old and young gravitate toward production that offers bright, spontaneous performances. Women often find themselves moved by the energy and sometimes inspire their partners to share in the experience.
Angel Llàcer, actor, singer and director of Cage of the Fools, with Cristina Martinez
How do audiences react after a show? They leave with smiles, often expressing gratitude on social networks. The positive feedback is a constant reminder of the impact of live theater. Llàcer appreciates the sincere thanks and the sense of connection that follows a performance.
Putting a musical together is a lengthy process. The journey from initial piece selection to the stage can take a year, sometimes a year and a half. The casting stage is the most challenging part, because it demands not only talent but also good character and teamwork. The process resembles planning a wedding: matching chemistry and vision to create something larger than any single contributor. Yet Llàcer relishes every step, allowing surprises to unfold and embracing the collaborative spirit that defines his work.
“What I love is to convey to people who see me well and smile.”
Regarding the collaboration with Manu Guix, Llàcer confirms a long and productive partnership. They have worked side by side since 1997, each respecting the other’s strengths. They cover ground that the other might not, complementing one another and avoiding conflict. In the end, their approach yields agreements built on shared goals rather than individual credit.
People have noted that looking at Llàcer he has become a phenomenon and a complete experience. The pair has just begun filming the tenth season of their project together, and there is a schedule in place for the near future, given the depth of talent across the team and the joy the collaboration brings. For Llàcer, the aim remains simple: to offer audiences moments of happiness and laughter, and to pass that warmth along to viewers who leave the theater with a lighter heart and a brighter outlook.
Looking back, Llàcer describes the era of his peak achievements not as a time of triumph but as a period of laughter and pink-hued memories. The experience was challenging in its own way, especially as a teacher needing to keep pace with the rapid rhythm of television. Yet it was also a period of great learning and personal growth that continues to inform his work on stage today.