New York’s Midtown Manhattan based Broadway theater is home to over 40 professional theaters, which attract over 10 million attendees annually. One of the most talked about theatrical musical’s to grace Broadway in 2016 is an imperfect family show called ‘Falsettos’. A New York Times review of the show published on October 27 pays a glowing tribute to the act, describing it as perfect and captivating. According to NYT’s Charles Isherwood, the singular show concerns unorthodox family trying to rediscover itself in a captivating choreography.
The family of four later grows to 5 and many more members has to content with a life full of intrigues. The focus is on a confused gay man called Marvin (Christian Borle) who is reliving a complicated life with his lover (Whizzer), ex-wife (Trina) and enlightened son (Jason). The characters are played by Stephanie Block (Trina), Anthony Rosenthal (Jason), Brandon Uranowitz (Mendel) and Andrew Rannells (Whizzer). Tension is palpable from the onset, even though everyone seems to maintain a soft stance to the level of sharing meals. The tense moments gradually grow as indifference between the cast characters unravel.
Marvin’s critical and possessive character clashes with that of his lover, Whizzer whom he thinks is unenthusiastic about monogamy. The young son Jason, on the other hand, sees his father as a person dissatisfied and morbid character, whose sole emotional attachment is towards his mother. To overcome Jason’s lonesomeness, Marvin and Trina urge Jason to start seeing Mendel, a psychiatrist. The play is currently taking place at Lincoln Center Theater’s, Walter Kerr Theatre and is expected to close in January 2017. It was first produced 25 years ago with the same director, Mr. Lapine.
The show was produced in conjunction with Jujamcyn Theaters. On the overall, Charles Isherwood closes by saying ‘Falsettos’ is a two act in one play, which ends by portraying love as something both uplifting and maddening. According to Broadwayworld, the play has received rave reviews from critics and writers from various media houses include The Daily Beast, The Hollywood Reporter, Entertainment Weekly and Time Out New York. Tim Teeman of the Daily Beast for instance, describes the musical as a true and unflinching study of humanity and surrounding relationships.