‘Ladies and gentlemen,” begins smooth Georges as he announces the evening’s entertainment at his Cage aux Folles nightclub in St Tropez. He proceeds to detail the attractions of his line-up of sequined, ostrich-feathered, all-singing, all-dancing lovelies, each of whom comes complete with a well-stocked crotch. Equal opportunities? Forget it.

Backstage, however, all is not going smoothly, with star Albin refusing to come out of his dressing room. Georges and Albin are an item going back many years, and Albin is ever fearful that Georges’ eye may start to wander elsewhere – to a younger cast member perhaps, or the sparky pageboy who hurtles round at home. There is a further bone of contention: as the result of a one-night heterosexual stand, Georges has a son, who now wants to get married. The prospective father-in-law is a homophobic, right-wing politician, who is determined to close all Riviera nightclubs. When he is invited round for dinner chez Georges and Albin, the scene is set for a hilarious turn of events.

This tender, funny, and often touching storyline turns La Cage aux Folles into something more than simply a feelgood musical – although feelgood musical it certainly is: Jerry Herman’s exuberant and tuneful score contains numbers like We Are What We Are, Song on the Sand, Masculinity and The Best of Times.

The show was originally staged in the wide open spaces of the London Palladium, but this new production gains greatly from being resident in the much more intimate Playhouse. Not only does set designer Tim Shortall carry the Playhouse’s appropriately florid, French, auditorium design forward on to the stage itself, but you also feel really involved in the show – just as you do at a Watermill musical, for instance.

Roger Allam has just taken over the role of Albin. Perhaps best known for his distinguished work with the RSC, his is not the first name that comes to mind for the part. But he is superb, capturing all Albin’s campery, hissy fits, and insecurities without ever being content to just present a stereotypical screaming old queen.

He also sings well, and perfectly matches Philip Quast’s desperately trying to please everyone all the time Georges – the inevitable blazing rows are splendidly managed.

The outrageous, in-your-face dance routines, and subordinate roles are all in flamboyant working order (director Terry Johnson, choreographer Lynne Page). You’d have to be the most diehard homophobe not to warm to this thoroughly entertaining show.

The Playhouse, Charing Cross. Tickets: 0844 871 7631 (www.ambassadortickets.com/