Falsettos

Reviewed by Holly Bartges

Next Stage opened their first show, Falsettos, in their brand new space in the new Aurora Fox’s Studio Theatre. The production reaches for the stars, grabs several thrusting them in the audience’s lap.

The cast of Falsettos. Photo by Heinz Ulm

That’s what a falsetto voice does, reaches beyond its normal range and knocks people out with a clear crystal tone. Winner of seven Tony and two Drama Desk Awards, Falsettos ties together several serious issues encountering the human animal, kicking them into a different range of a comedic sphere. Any one of the issues has sent members of humanity into a life-long tizzy of depression, confusion, and enormous psychiatric payments. With ingenious insight, William Finn and James Lapine follows one man, Marvin, his wife, Trina, his son Jason, his lover Whizzer, and his psychiatrist, Mendel into an avalanche of problematic solutions for “happily ever after” that no matter how you cut it, just won’t work.

Rather than leaving the audience gasping for decompressed air to climb out of a depressed state, Falsettos enables the audience to pay attention to society’s problematic relationships, marvel at the choreography, thrill to creative lyrics, and admire Next Stage’s talented cast, and laugh.

Act I, March of the Falsettos, and Act II, Falsettoland, were written as two one-act plays. They followed the beginning of Marvin’s odyssey with the first one-act, In Trousers, produced in 1987. Someone had the brilliant idea of combining March of the Falsettos and Falsettoland into one production. As a result, in 1992, it swept the Tony’s.

Directed by Gene Kato, who knows how to work and inspire actors, even on a small stage, Next Stage’s production lives up to its wondrous reputation. Falsettos should be seen by everyone. If it were, some psychiatrist’s offices could be emptied a good part of the time. Problems wrapped in perspective have a way of fitting into a life style rather than butting horns against it when humor is allowed to come out to play. Humor conjures up a hay-day in Falsettos.

Under the musical direction of Les Dweir, accompanied by Dillon Johnson, and Karla Puskas’ high-powered choreography, the actors bring the discombobulated characters to delicious life through 42 songs. With few speaking lines, Falsettos could easily be classified as an opera. Undoubtedly, Colorado Opera or Central City Opera won’t be considering staging Falsettos any time soon, although it would certainly wake up some sleepy operagoers who pride themselves on season tickets, but who don’t always know or understand what they are watching. Before anyone has a cardiac arrest over this statement, it’s made not off the top of the head, but straight from conversations with seasoned opera people.

Marvin has a problem. Under the command of Tyler D. Collins, Marvin wears his disoriented confusion on his sleeve for all to see. Happily married to Trina, (Janelle Christie), with a young son, Jason, (Adrian Ulm), Marvin comes to the abrupt conclusion he isn’t what he projects. He has fallen in love with Whizzer, a young hunk played by Cameron Stevens.

The two have very little in common, but in the love arena of attraction, having very little in common takes a back seat on the bus every time. Frequently consulting his psychiatrist, Mendel, wonderfully played by Brian Loveland, Marvin sees to it everyone gets to consult with Mendel.

Although Marvin loves Whizzer, he doesn’t want to lose Trina, much less Jason. What he wants is for everyone to live together as one big happy family. Marvin wants his cake and eat it too, but Trina isn’t about to bake it.

This sends Trina to Mendel, who immediately falls in love with her. Jason is sent on a roller coaster ride, anxiety nibbling at his heels, wondering if he will become like his father.

The opening number “Four Jews In A Room Bitching” not only sets the tone for what’s to come, demonstrates the demand of direction and choreography, but sets the level of humor rushing into the audience. Everyone is Jewish except for Mendel, claiming to be half Jewish, presenting its own complexity. Although the song takes center stage with the four men, Trina isn’t about to be left out, sweeping across the stage mumbling something about slavery and bringing out the giggles.

The clever lyrics of the songs are stunning whether it is “Love Is Blind,” “Marvin At The Psychiatrist,” “My Father Is A Homo,” “This Had Better Come to A Stop,” or Trina’s “I’m Breaking Down.” Christie’s amazing ability for quick movement, framing opposite emotions in the blink of an eye becomes mind-boggling.

The lyrics refuse to dance around the issues. They tell it like it is in graphic down to earth illustrations. At times when the spotlight is on Jason, he sits in the midst of the audience listening, reacting, and internalizing what plays out before him.

Sometimes in Act I the comedic appeal went from silly to sillier, and I held my breath wondering if the entire show would be like that, simply because I am not a big fan of silly for the sake of silly.

Falsettos is definitely one production that cannot allow the first act to define the entire show. Act II takes a completely different twist teasing the tear ducts and the lump in the throat to dance a waltz of its own.

The one who wanted the one big happy family loses. Trina marries Mendel, Jason falls in love with a girl relieved to know that just because his father is gay it doesn’t mean he will be too. Marvin and Whizzer have parted company, and Marvin is alone. Planning Jason’s Bar Mitzvah and a strange unknown illness zapping Whizzer’s life, unites the characters.

A lesbian doctor, Charlotte, captivatingly played by Linda Suttle, verbalizes her fearful anxiety over Whizzer’s unidentified disease with her partner, Cordelia, equally played by Marie Word. Their song Something Bad Is Happening sends chills through the spine. Something Bad indeed happened when AIDS became identified. The silly for the sake of silly in Act I takes on a completely different perspective through Whizzer’s reality. This is one production where the whole cannot be defined by its parts.

As demanding as the choreography is, so is the music. There are moments when the actors struggle to master the high notes, especially Alm. At the same time, particularly during solos, the strength and power of everyone’s voice takes center stage no matter where they happen to be.

In light of Whizzer’s condition, Trina, Mendel, and Jason’s song Canceling the Bar Mitzvah grabs the heart. In light of sadness, how does one continue with the party? Steven’s performance in the hospital can’t help but underscore memories for those who have watched friends and loved ones die of AIDS. His timing, his resignation, his loss of strength reflects reality in Whizzer.

Leave it to a child, however. If Whizzer can’t attend the party, then bring the party to Whizzer leading Jason into the song “Another Miracle of Judaism.” Whizzer and Marvin’s touching song dances rings around the reality “You Gotta Die Sometime”, a fact so many in our society refuse to accept, much less believe.

In spite of curve balls, sharp turns, and annoying pebbled paths that get in the way of hoped for, planned on perfect happily ever after lives, Falsettos points in the direction that no matter what, workable solutions can be found if one honestly desires to find them.

Although Falsettos is definitely not an easy production to produce with direction, singing, acting, or dancing Next Stage once again proves their compliance to determined dedication.

Along with opening in the Studio Theatre, Next Stage announced they are going Green, and the first theatre to do so. They definitely need to be commended for pursuing this arena. By their own admission there are several issues that need to be thought through. One of the first decisions made was to do without programs, but programs are essential. Some like to keep them as souvenirs. Some who carefully choose productions they attend are lost without knowing who the actors are. Even though photos of cast members and a list of the crew are posted on one wall, several people looking at the same time creates cumbersome difficulty. Those seeing a production for the first time get lost in the frenzy of where and when the story takes place. Crewmembers who are often the unsung heroes of any production are difficult to identify with just a sheet of names on the wall. Actors may be familiar from other productions, but without sound identification the mind tends to ask who is this actor? Where have I seen them before? This, unfortunately, tends to interrupt the production’s train of thought. Next Stage can still be Green with programs printed on recycled paper. First time attendees at Next Stage may find confusion overwhelming. Yes, there are those who want programs during the show, but not interested in taking them home. Boxes can be left at the door for the program to be reused as a good many theatres are already doing. Another side to this is recycled paper, but if the programs look skimpy and cheap, the first thought to cross the mind is “skimpy and cheap production” whether it is or not. A well thought out program says far more than what is actually printed on the paper. It speaks to how well the company thinks of itself. Programs carried home are frequently shown to other family members, friends and co-workers. This could well be the initial introduction of the company. If the program doesn’t attract attentive curiosity, the company could well lose potential audience members. Once I even talked to a first time theatergoer who became an instant subscriber because someone left a program at a bus stop. It is a truth programs can be one of the company’s most important advertising sources.

Hopefully, Next Stage and the Aurora Fox can make some adjustments to the space. The theatre begins right inside the door. Because of this, no one enter until the house is ready. Staying outside is certainly no problem during cooperative weather, but something will have to be done during snow, rain, cold, and even hot. Perhaps the cast and crew can make sure everything is set an hour before curtain so the house can be opened for those who like to arrive early. Perhaps the space can be expanded to provide a Lobby. Without accommodating the audience, some may think twice before making reservations a second time.

We are indeed a society of comfort and convenience, and if that doesn’t exist, there are plenty of venues available where it does.

Speaking of the space, some attention needs to be given to the acoustics. Even though the space is small and intimate and mics aren’t needed, the sound certainly affects the quality of Falsettos. Those hard to reach notes may have had more to do with the acoustics than the voice. The space as it is now does have a hollow tone to it.

It’s the beginning if a new era, and newness always walks side by side with adjustment. The Aurora Fox deserves to be commended for opening the space to Next Stage. Next Stage deserves to be commended for having a “happily ever after” new home.

Meanwhile do not miss Falsettos, programs or no programs, and waiting outside for the house to be open. These are minor technicalities for the treasure waiting inside.