I didn’t think anyone could top Barbara Walsh’s marvelously manic Trina from the original, but Stephanie J. Likewise, Andrew Rannells’ Whizzer branches from a shallow boy to a tragic figure. But as his character grows in compassion, the limning becomes more shaded. At first, Christian Borle is stingingly entitled as the self-centered, neurotic mess Marvin. The new cast, bouncing around David Rockwell’s building-block set, gives as deep performances as the originals. Once again Lapine moves the nearly three-hour show at a quick pace, skillfully balancing its lighter and darker elements and Finn’s rich, complex score comes across brilliantly. All the male characters deal with maturity issues, hence the falsettos reference in the title(s).
Set decades before gay marriage, this chamber musical chronicles the painful journey of Marvin from frivolous boyhood to a messy maturity. Charlotte and Cordelia, faces a crushing blow when Whizzer contracts AIDS. Trina later marries Marvin’s psychiatrist Mendel and the makeshift extended family, which also includes Marvin’s lesbian friends Dr. They follow the chaotic domestic relations of Marvin, a gay man who bursts out of the closet, leaves his wife Trina and son Jason to move in with the younger party boy Whizzer. The show is actually a pairing of two one-acts- March of the Falsettos and Falsettoland-both presented Off-Broadway in 19, respectively. Both are directed by James Lapine who collaborated on the non-spoken book with composer-lyricist William Finn. The new production of Falsettos for Lincoln Center Theatre isn’t that much different from the original 1992 Broadway production.
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