by Kevin Shaw | photos courtesy of Theatre Memphis
[Pictured above: Joshua Pearce (foreground) portrays Jason, the center of attention of a blended family as his “families” look on, (clockwise from left) Christina Hernandez, Jaclyn Suffel, Cary Vaughn, Emily Chateau, Charles McGowan and Greg Earnest, in Falsettos in the Next Stage at Theatre Memphis through November 18, 2017.]
What is the “definition” of a great piece of art? While the specific aspects of such are indeed subjective, I would like to propose that the criteria is not. Criteria such as: Is it widely recognized by many as being a great piece of art? Does it elicit strong emotions? Does it withstand the test of time? Falsettos which opened at Theatre Memphis this past weekend is a piece of art that I was certain met the first two (it is widely recognized as being pretty great with its Tony Awards in 1992 for James Lapine’s book and William Finn’s music) and elicits belly laughs and tears from every audience I’ve ever witnessed, but I wasn’t confident in its ability to withstand the test of time. Even when I directed the show at Circuit Playhouse back in 1998 (almost 20 years ago), it was routinely perceived as being an “AIDS” musical that was on the verge of not really being that “groundbreaking” anymore. The truth was, and still is, Falsettos is no more about AIDS than Romeo and Juliet is about suicide or Death of a Salesman is about life insurance policies. No, Falsettos is about family and every “Rubik’s Cube” combination of familial relationships you can imagine—father/son; husband/wife; ex-husband/ex-wife; therapist/patient; boyfriend/boyfriend; girlfriend/girlfriend; mother/son; and ex-wife/ex-husband’s new boyfriend (just to name a few). Because this little chamber musical is indeed so much about “family,” it not only withstands the test of time, it has strengthened with time.
This story about Marvin who has left his wife (Trina) and son (Jason) to be with his new boyfriend (Whizzer) was a pretty “radical” idea even as recently as 1992 when the show premiered on Broadway. Even with the addition of Marvin’s therapist (Mendel) dating his ex-wife, somehow, Marvin still wants to keep this new family unit intact. It’s a pretty ludicrous goal—that is, until you see the benefit to all involved. People need each other and love can get people through almost anything–even sitting at your son’s baseball game with your ex-husband, his ex-lover and your current husband (and don’t forget about the lesbians from next door). On top of all this, is the complications of trying to coordinate Jason’s Bar Mitzvah while everyone deals with Whizzer’s new unnamed illness. It’s complicated—just like family.
Theatre Memphis’ production is on the Next Stage (instead of the Main Stage) which allows the audience to be intimately involved in the ever-changing family dynamics. As an educator for the past 30 years, my mantra has always been “A good teacher can teach with a stick while drawing in the dirt.” Likewise, a well-written play can be produced with little to no scenery or props. Falsettos needs very little in the way of scenery, etc. because it’s all about the relationships. This show only needs a “teeny, tiny band” and it has one with the masterful Gary Beard on piano and John Lux on woodwinds—again, relationships.
Cary Vaughn as Marvin is delightfully engaging as the tormented, but naïve father/husband/boyfriend who tries desperately to keep everyone afloat in this sea of change of his own making. Physically, Vaughn almost seems better suited for the role of Whizzer, but still impressively carries Marvin from start to finish. Speaking of role reversals, Greg Earnest just doesn’t look like a Whizzer to me. Although stereotypical, Whizzer should be more of a gym rat “boy toy” who is simply irresistible to Marvin’s “wayward” eye. It might be interesting to see Earnest in the Marvin role play off Vaugh’s Whizzer. Emily F. Chateau as Marvin’s wife, Trina successfully nails every possible emotion of a woman trying to keep sane while the rules keep changing. Her knockout rendition of “I’m Breaking Down” will leave you in stitches. Joshua Pearce’s portrayal of the son, Jason, is appropriately sincere, confused and smarmy in all the right places. Charles L. McGowan III’s take on Mendel, the insecure psychiatrist was convincingly insecure, but it almost seemed to be more about the actor than the character, while the lesbians from next door (played by Jaclyn Suffel and Christina Hernandez) superbly “punched up” the show just at the right time to keep things fresh.
Under Jerry Chipman’s direction, Falsettos goes for the heart. As a human being, you have no choice but to put yourself in one (if not many) of the relationships you see onstage. William Finn’s music and words resonate so much with being alive that you are sure to be deeply moved. Finn once said he named this show Falsettos because “falsetto” means “outside the normal range.” Perhaps you will see these characters as being outside the normal range, but you will surely recognize them in you and your own family. Theatre Memphis’ production isn’t perfect, but it’s worth seeing. You’ll laugh and cry harder than you can imagine, but that’s just what families do to us, isn’t it?
Grade: A
Now through November 18th, 2017
https://theatrememphis.org
