FPCT's "Falsettos": A High Note of Spring

In a way, it is sad that shows like Angels in America and Falsettos, which opened last weekend at Fells Point Corner Theatre, still have so much relevance.  They deal not only with the hot political issue of same-sex relationships, but the nearly forgotten plight of AIDS.  Those of you looking for political agenda stick with Angels; Falsettos wears its politics in a much more colorful, subversive way.  One of the reasons it works so well is because while it is about same-sex relationships and AIDS, the overall message is much more universal: families, no matter how they are constructed, are about support, forgiveness and love. And even better, this production, directed by Bill Kamberger and choreographed by David Gregory is a high energy gift to us all wrapped in a fabulous rainbow colored paper.

Several things, after some thought and reflection strike me about this production.  First, it is impeccably cast with excellent singers/actors.  Second, musically it is first rate, thanks largely to musical director Michael Tan, who is the "Teeny Tiny Band" accompanying the cast with flair and style, and a touch of humor all his own.  Third, the energy and pacing of the show is excellent, though I must admit feeling a bit spent by the end.  Which brings me to the fourth thing.

This was a late 80's - early 90's American attempt at through-composing a musical – all dialogue is sung. The lyrics by William Finn and almost nonexistent book by James Lapine and Finn are so crammed with information and plot that in addition to taking in all that is physically happening, audience members really need to concentrate on every single word.  Finn, a much more common man's Sondheim, seems to love words.  He is, at times, clever, and he will go miles just to make sure his songs rhyme.  But many times what the characters are saying, while 100% in character, isn't nearly as interesting as a more poetic song or sections of pointed dialogue might have been.  Much of both acts (March of the Falsettos and Falsettoland, both separate musicals at one point) is filled with numbers called "Everyone Tells Jason to See a Psychiatrist" and "Cancelling the Bar Mitzvah", whose titles make you wonder why they didn't use dialogue instead of song.  While they move the plot, more often than not, they require such complete concentration on words at the expense of enjoying the whole picture.  Thankfully, and much to their credit, this wonderful cast works its way through these barriers and delivers a powerhouse evening of entertainment.

Act one of Falsettos tells of Marvin, who leaves his wife and son for Whizzer, another man.  His son, Jason, adores him, but can't deal with his dad being gay (what 10 year old can?), and yet he likes Whizzer the most of all the adults in his life.  Trina, Marvin's wife struggles with the loss of her husband, seeking refuge in the form of Dr. Mendel, her therapist and soon-to-be-husband.  Various things happen to all of these people in Marvin's life, and the result is that Marvin is guilt-ridden, unhappy and ultimately lonely.  Act two picks up their lives two years later as Jason is preparing for his Bar Mitzvah, which causes endless tension between his parents, with step dad often trying to intervene.  Marvin loves his two best friends, the never fully explained Dr. Charlotte and caterer Cordelia, lesbian lovers who become intertwined into the family.  At this point, everyone, not just Marvin, is pretty miserable, until Whizzer returns and Marvin finally finds some happiness, which spreads to the others.  Then, BAM!  "Something Bad is Happening" sings Dr. Charlotte.  A mysterious disease is felling dozens of otherwise vibrant men, and who but Whizzer ends up sick with it.  Suddenly, and sadly, priorities are set in focus and these characters band together, resulting in an emotionally satisfying, if unhappy, ending.

Director Bill Kamberger keeps the ball rolling, not only with fast scene changes, but a set dominated by three upstage revolving doors, allowing these people to literally and figuratively come and go with ease and flow.  (Set design is by Ben MacKrell.)  The floor resembles a chess board, which is a focus in Jason's life, and is surrounded by large toys – an Easy Bake Oven, a seesaw and Fischer Price toy phones figure prominently.  This leads to a largely unanswered question: what is Kamberger's point?  Are these people stuck in childhood?  Is it all game playing?  The text does not bear this out, so the concept seems flashy but uninspired.  Costumer Helenmary Ball and lighting designer Charles Danforth II have created an appropriately colorful world, with vivid (for every day wear) clothes and moody area lighting which smoothly mirrors the goings on of the plot.  And in what may be a first in many years in local theatre at any level, Danforth (and lighting tech Guy H. Wolf II) have used follow spots sparingly AND correctly.  Nice work!

Kamberger has really hit the jackpot, though, with the aforementioned Tan and Gregory, who really amp everything up.  Mr. Tan's excellent accompaniment makes you forget you are listening only to an electric keyboard, and his work with the cast on the vocals is superb.  They sing wonderfully as individuals and gloriously as a company.  Mr. Gregory has similarly spun gold out of straw – he has a company of honest to goodness dancers!  It is clear that he has exploited their natural gifts and pushed them all to new heights.  The lion's share of the dancing is done in the almost separate vaudeville style staging of some numbers, complete with hat and cane.  Other numbers are high energy homages to Broadway, MTV and Dancing with the Stars.  They even incorporate hand puppets, flashlights, a variety of props and racquetball (!) into the staging.  What is also nice is that the team has worked together to create dances and scene movement that ebb and flow from each other creating a breathless fluidity to the whole thing.  It is fun to watch and exhausting – I can't imagine how tired the cast must be after the curtain call!  Choreographic highlights include the hilarious opening number "4 Jews in a Room Bitching" and the really fun "March of the Falsettos."

And what a cast!  Lead by Larry Munsey (recently of The Full Monty at Toby's Baltimore) as Marvin, all seven cast members are great.  Munsey has the difficult task of being a largely unlikable protagonist, as he spends the vast majority of the show depressed and or angry.  He plays the role for no laughs whatsoever, which makes him more difficult to warm to, but he selects his warm, tender moments carefully – especially when dealing with his son.  Act one ends with the poignant "Father to Son".  In act two, when Marvin finally allows himself some happiness, Munsey's warm smile lights up the room, and he again ends the act with a touching duet with Whizzer, "What Would I Do?"  It turns out that by holding back on the warmth, Munsey heightens the emotional power of the second act.  The payoff is worth the wait.

Shelly Work, as Trina, the ex-wife plays this well-rounded role with style and much feeling.  In many ways, she is the anti-Marvin.  She wears her emotional heart on her sleeve.  Her frustration and joy are extremes and fun to watch, and her interplay with her love/future husband and her angst-ridden adolescent son is marvelous and believable.  She is funny in "Marvin at the Psychiatrist – a 3-Part Mini-Opera" and gut-wrenching in "I'm Breaking Down" and "Trina's Song."  As her therapist/husband, slightly nebbish, hugely funny Stuart Goldstone almost steals the show.  His advice song, "Everyone Hates His Parents" is delivered with a sharpness that underlines both the humor and the truth in the song.  And like the other cast members, he is equally effective in the quieter moments.  In fact, there are times when he only motions and moves, but doesn't speak that add those fine details which catapult a good performance into a great one.

As the act two add-ons, Dr. Charlotte and Cordelia (Kendra Keiser and Susannah Hoffman) work well together, creating a tangible, loving relationship which offers a wonderful counterpoint to the other, more struggling relationships around them.  Ms. Keiser and Ms. Hoffman's "Something Bad is Happening" adds a somber, but thoughtful note to act two.  Ms. Hoffman would benefit from adding a smidge more volume to her lovely soprano voice. 

David Gregory, as Whizzer, and Benjamin Miller, as Jason, practically steal the show.  Mr. Gregory makes an immediate, charismatic impression the second he opens his mouth in a large smile and a terrific voice.  He gets to play a wide range of emotion, but manages to keep himself largely sympathetic.  Mr. Miller is also quite charismatic, belting out his songs with astonishing maturity.  He never once relies on easy kid-shtick or mugging. He, like his character, is clever and witty in his acting.  Yes, you are watching a child, but he is an integral, important part of the show, and is in many ways, the leading player of act two.  This young man really steps up to the plate.

It is the full company scenes that really elevate this Falsettos, though.  Whether it is the witty opening number of each act, or the hilarious, detailed, character-driven "Sitting Watching Jason Play Baseball" or the bittersweet ending, you really feel you are in the presence of a true company, all working as one toward a common, important goal.  It doesn't get much better than that.

PHOTOS: TOP: "4 Jews in a Room Bitching"(Clockwise from top left) Larry Munsey, Shelly Work, Benjamin Miller, Stuart Goldstone and David Gregory; BOTTOM: "Sitting Watching Jason (Play Baseball)" (Clockwise from top left) Larry Munsey, Susannah Hoffman, Kendra Keiser, David Gregory, Stuart Goldstone, Shelly Work.  Photos by Amy Jones.