Review: 'FALSETTOS' at Palm Canyon Theatre

The Palm Canyon Theatre’s production of "Falsettos," running through July 20, is a captivating rendition of this beloved musical. Directed by David Brooks, with musical direction by Chuck Peery and choreography by Se Layne, the production manages to capture the essence of William Finn and James Lapine’s Tony Award-winning musical with sensitivity and depth.

At the heart of "Falsettos" is its ensemble cast, each member delivering a performance that resonates with authenticity and emotional complexity. Luke Rainey takes on the role of Marvin, a man navigating the tumultuous waters of radical self-discovery and relationships in 1979 New York. Rainey’s portrayal is both nuanced and passionate, embodying Marvin’s struggle to reconcile his heart’s desires with his ever present responsibilities. A character who is at alternating times infuriatingly controlling yet brittle on the thinnest of ice, Rainey’s creation is real and unerringly human, warts and all.

Georgia Smith, as Trina, Marvin's ex-wife, delivers a performance that is both comedic and deeply personal. Her rendition of “I’m Breaking Down” is a true highlight, capturing Trina's vulnerability and resilience with equal measure. Her mania is all too understandable and (let’s be honest) a real hit-too-close-to-home for just about everyone in the audience. Avoiding the pitfalls of becoming the shrill which would be all too easy in such a role, this character was relatable but not an object of pity.

Smith’s chemistry with Desmond McLeod, who plays her son Jason, is particularly touching. The parental charisma between Rainey, Smith and McLeod reads as one of the most realistic inter-family relationship I’ve seen on stage is some time. Not a normal “happy” little family nor a vengeful nuclear free-for-all, these three people, bound by biology and an ongoing need for nurture, all are finding their way forward in increasingly uncomfortable ways. McLeod brings a soulful sincerity to the role, navigating Jason’s complex emotions with a maturity well beyond his years.

Anthony Nannini shines as Whizzer, Marvin’s lover, bringing snarky charisma and probing depths to the character. Nannini’s chemistry with Rainey is palpable, making their relationship both believable and moving. Nannini, no stranger to valley stages, owns this role with timeless joie de vivre of a mercurial Peter Pan until the pixie dust is gone. Fair warning: he will break your heart.

Jonathan Brett brings Mendel, the family psychiatrist, to life with humor and warmth. His interactions with Marvin, Trina and Jason add layers of complexity to the ever shifting family dynamic.

Jana Giboney and Nicole Kennedy, as Dr. Charlotte and Cordelia respectively otherwise known as “the lesbians down the hall”, round out the cast beautifully. Giboney’s portrayal of the compassionate doctor adds a grounding presence to the latter half of the musical, while Kennedy brings a delightful energy to the role of Cordelia, the enthusiastic caterer.

There is an eighth character that permeates the entire world of this creation, Judaism. It guides the momentum of all the character’s story trajectories. Whether devotedly kosher or delightfully agnostic, the Jewish world is indelibly woven into the tapestry of this tale.

David Brooks’ insightful direction ensures that the intricate and often chaotic lives of the characters are portrayed with clarity and empathy. His ability to balance the humor and heartache of the storyline allows the audience to engage deeply with the narrative. The staging is both intimate and dynamic, capturing the essence of the characters’ intertwined lives.

Musical director Chuck Peery deserves applause for his masterful handling of Finn’s complex score. The cast navigates the challenging musical numbers with commendable skill, ensuring that each song resonates with emotional truth and clarity. The live band; which featured Peery on piano, Larry Holloway on Bass and Jim Watson on Drums, enhances the overall experience, providing a rich musical backdrop that complements the vocal performances.

Se Layne’s choreography is another highlight of this production. The movement throughout the show is expressive and fluid, enhancing the storytelling without overshadowing the narrative. Layne’s work ensures that the physicality of the performers reflects the emotional undercurrents of each scene, adding depth to the overall production.

J.W. Layne’s production design, though minimalist, is effective in creating the various settings required by the narrative. The use of theatre boxes with augments is clever, allowing for seamless transitions between scenes and maintaining the flow of the story. His lighting design is particularly noteworthy, highlighting the emotional beats of the musical and adding to the overall atmosphere. Nick Edwards projections, once again, firmly establishes place and space with movement and well thought out design. Derik Shopinski’s costume design firmly evokes the early eighties without venturing into cliché’. If I have a criticism, the only thing I would have liked to improve was sound volume. This work is completely sung through, no dialogue breaks, but there were times that I had difficulty understanding the words being sung. This is not a criticism of the performer, I can tell when enunciation is occurring, but the mics did not seem to be boosting the volume.

The Palm Canyon Theatre’s production of "Falsettos" is a triumph of storytelling and performance. Each member of the cast and crew contributes to a rich tapestry of emotion, humor, and humanity. The musical explores themes of love, family, and identity with grace and honesty, leaving the audience both entertained and deeply moved.

For those who have yet to experience "Falsettos," this production should not be missed. It is a testament to the power of theatre to capture the complexities of human relationships and the enduring nature of love in all its forms. Whether you’re a longtime fan of the musical or a newcomer, this rendition at the Palm Canyon Theatre promises to be an unforgettable experience.