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Comprised of originally two one-act shows, 1981’s March of the Falsettos and and 1990’s Falsettoland, Falsettos was first produced on Broadway in 1992. The show, by William Finn and James Lapine, was an important piece of art. Addressing universal themes of love and family, but also bringing in some emerging issues of the time (AIDS and the gay movement), Falsettos was a critical hit (it won two Tony Awards). This current Broadway revival is, simply put, a hit as well.

Falsettos tells the story of a Jewish family breaking down and building itself up again. In Act I, Marvin (Christian Borle) has left behind his wife, Trina (Stephanie J. Block), and 10-year-old son, Jason (Anthony Rosenthal), to live with his male lover, Whizzer (Andrew Rannells). Trina attempts to put her life back together and marries Marvin’s psychiatrist, Mendel (a charming—and attractive—Brandon Uranowitz)…which pushes Marvin into a jealous rage. Eventually, Marvin’s selfish attitude and meanness drive Whizzer away, too, so Marvin is left to really examine who he is. As with many family experiences, all is not lost. In Act II, a few years later, the family has found a rocky footing, coming together for Jason’s bar mitzvah. Their world now also includes Marvin’s friends and neighbors, aspiring caterer Cordelia (Betsy Wolfe) and doctor Charlotte (Tracie Thoms), a lesbian couple. Marvin has grown up a bit, and, so, Whizzer reenters his life. Unfortunately, Whizzer becomes terminally ill with AIDS, and everyone rallies around him in love and grief. To say that Act II of Falsettos is an emotional outpouring is an understatement.

The cast of this revival really is incredibly talented. Each of them were engaging performers and hit all the right notes (literally and figuratively). In particular, though, Christian Borle, Andrew Rannells, and Stephanie J. Block really shine. Christian Borle, recently well-known for comedic roles, stretches his dramatic muscles as Marvin. He makes Marvin so despicable that when he becomes more selfless and tender, it chokes you up (specifically in “Father to Son”, his sweet song to Jason). Andrew Rannells as Whizzer is so likable that, when he dies, the grief is not just felt by the characters in the show, but also by those of us watching. Then, there’s Stephanie J. Block. As Trina, she is phenomenal. Trina is constantly dealing with men in her life that struggle with growing up, and she deals with it an outward show of strength even when it’s bringing her down. Her rendition of “I’m Breaking Down”, in fact, brought the house down. How often does one single person on a simply dressed stage in a musical bring us to tears from laughing, make our hearts break a little, and pull off incredible singing while chopping and eating a banana? Not only does Block have a powerhouse of a voice, but her vulnerability and determination make her entirely relatable.

David Rockwell’s set was another stunning aspect of Falsettos. Comprised of grey building blocks that the actors moved around to build various structures (that were then walked on, sat on, lay on, etc.), the set may not have been the prettiest design that has ever been on Broadway, but the metaphor it invoked was perfect. Life, like Falsetto‘s set, is like a series of building blocks. You build your identity. You build your home. You build relationships.

And, that, is what is so good about Falsettos. It may be hard work figuring out who you are, how you relate to other people and the world, but you can get through it if you have a family—the one you were born with or the one you make—to help you along.

Falsettos is at the Walter Kerr Theater until January 8. More information here. 

Photo Credit: Joan Marcus