NOTE: Les Miserables is still my favorite musical though : )
The magic of theatre makes its presence known in the form of breath. The shared intake as the curtains lift, the hitch when the protagonist bears their soul in a monologue, the sigh as the villain falls, and the whistles of a standing ovation. Most shows map out the breath of their audience in the hopes of stealing it. Yet, only one show thus far has been able to give me air instead; Falsettos. Written by William Finn and James Lapine, Falsettos examines the destruction, creation, and transformation of a family. The main cast, Marvin, his ex-wife Trina, his lover Whizzer, his psychiatrist Mendel, and his son Jason, switch between comedic banter and raging arguments as the unnerving realization that they do not know how to truly live as themselves develops under the guise of preparation for Jason’s bar mitzvah.
The show in presentation is simple: minimal set pieces, no fantastical special effects, and a small cast. However, the story is difficult to describe as there is no real “villain” or “hero,” the map of breath is drawn not by a story mountain but rather the development of often disturbingly realistic characters. Even on a gigantic stage, the small family onstage captures a sense of intimacy and tension purely through their words.
Still, the path of Falsettos is far from one dimensional. The show frequently breaks the fourth wall under the supervision of Mendel, specifically near the beginning and end of acts. He continues a common theme, “homosexuals, women with children, short insomniacs, and a teeny tiny band.” Although this repetition may seem cliche or superfluous, each time he repeats it the words take on a new meaning in accordance with the current situation. Especially the word “band,” is used to refer to the pit orchestra, the wedding ring between Marvin and Trina, the new ring that Mendel presents to Trina when they get married, and eventually the small family that is left even more “teeny and tiny” after Whizzer’s death. Even the simplest of words take on new meanings and I often find myself rewatching and rereading the show, discovering new layers of meaning every time.
Just as important as what the show includes is what it deliberately omits: the surnames of the characters. One of my favorite aspects of Falsettos is how purposeful every detail is, the same details that make it “simplistic” actually construct a world that intentionally mimics our own. By the end of the show, we are extremely familiar with the characters: Jason loves to play chess, Whizzer is competitive in tennis, Trina uses bananas extensively in her food. Yet, the realization that despite them being a family, we never learn any of their family names, makes its point more pronounced as Jason is described as the “son of Marvin,” “son of Trina,” “son of Mendel,” and “son of Whizzer” near the end of the show. From the beginning of the show, Marvin is obsessed with the label of a “tight-knit family,” rejecting Mendel and eventually losing all of his family from his fingers. Only after letting go of his control over the others does Marvin truly gain his “tight-knit family,” though they are never actually family by name. Rather, they are, as they name themselves, “unlikely lovers.” The story of Falsettos encompasses not only what is said but also what is unsaid, even the smallest detail hammers in the dynamics of the family and the true nature of the relationships they build.
Falsettos is deceptively basic in its composition but upon a closer look, it reveals tremendous amounts of depth each time it is produced. The characters transform and grow, sometimes taking steps forwards, backwards, or sideways in their journey to find each other. Regardless of who the audience is, there is something eerily relatable and vulnerable in their nature that creates immeasurable tension and dynamic on stage in a balance of comedy and tragedy. Quite frankly, Falsettos captures life the way it is, not how we would dramatize it to become. The arc of the show is unsettling in its fullness and complexity in a way that cannot help but evoke personal memories of tears, laughter, and love. Although each person sitting in the audience relives unique and individual experiences, all people on and off the stage are united for two and a half hours in the examination of a show that really is a study of ourselves. This is the power of theatre, the shared breath between a group of different people who have only met on one night but now connect at a level deeper than anything conscious. This is the magic of Falsettos.
Bonus: My favorite songs from Falsettos (in no particular order)
1. Unlikely Lovers
2. Father to Son
3. I Never Wanted to Love You
4. Days Like This
5. What Would I Do?
6. Please Come to Our House
7. This Had Better Come to a Stop
The entire soundtrack is wonderful though, highly recommended! Also as iconic as the original cast is, the 2016 Broadway revival definitely has a special place in my heart.
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