BWW Reviews: A Definitive Falsettos at Third Street Theatre

Falsettos
book by William Finn & James Lapine
music & lyrics by William Finn
directed by Richard Israel
Third Street Theatre
through October 16

Winner of the1992 Tony Award for Best Book and Best Score of a Musical, Falsettos should also have walked away with honors as Best Musical. The show has it all: beautiful music by William Finn, great storytelling by Finn and James Lapine and a message for the ages about love, in all of its forms. Is it because of its size - with only a two person orchestra - that it lost Best Musical? Inconceivable, for any reason! Currently on stage at the Third Street Theatre, Richard Israel's astoundingly staged production brings the kind of joy that is at once fun-filled and heartwarming. Divided into March of the Falsettos - Act I (1979) and Falsettoland - Act II (1981), the play allows the audience to experience pre-Aids, and then its onslaught and ultimate devastating affects on the world.

If one is Jewish and gay, he is doubly victimized. Marvin (Jesse Einstein) is both. But it's not just about him. His story includes his ex-wife Trina (Lani Shipman), son Jason (Major Curda) as well as his lover Whizzer (Richard Hellstern), psychiatrist Mendel (Chip Phillips) and two lesbian neighbors Charlotte (Kim Reed) and Cordelia (Wendy Rosoff), who form close attachments. It's one big extended family - with an equal share of problems, and Marvin's sexuality obviously creates the most trouble for Trina and Jason. As fate would have it, Mendel falls for Trina and marries her, alienating Marvin. He no longer has a psychiatrist he can trust. When Whizzer develops AIDS, his illness brings tragedy into all of their lives. Apart from Marvin and Charlotte, who is also his doctor, Jason is the next deeply hurt, as he approaches a sense of manhood via his Bar Mitzvah. He has formed a close relationship to Whizzer, and the whole life/death thing takes on a more powerful meaning through Jason's eyes.

An operetta, Falsettos miraculously manages not only to convey the story without words, but the emotions felt by everyone as well. Finn's vibrant score stays uplifting throughout, never maudlin. It's akin to life with laughter and tears, always with a glimmer of optimism on the horizon. Everyone can identify with at least one of the characters here.

The cast is a true ensemble, assisting with set pieces, clearing the stage and fully engaged in every physical activity that the script demands - and there are many apart from negotiating choreographer John Todd's fast-paced dance steps, like baking a cake, playing racketball and jogging, to name a few. Einstein is very moving and caring as husband, lover and father. Shipman is a wonder, singing and acting brilliantly from moment to moment, never missing a beat. Phillips, Hellstern and Curda all underplay, but keep their parts of the story alive and resonating. Reed and Rosoff are both wonderful with Rosoff's homemaker adding just the right amount of humor to counteract the sorrow.

This is a sensational rendition of Falsettos. Israel proves once again just how meticulously ingenious a director he really is.