Review: (Toronto) Falsettos

Eric Morin, Stephen Patterson. Photography: Joanna Akyol

The Joyful Dysfunctions of a Modern Family

by Christian Baines

Falsettos is possibly one of the most disarming ‘downer’ shows out there. All the more disarming for how bloody funny it is, pulled off in that absurdist tone that makes any William Finn musical such a treat. Yes, it sews together the latter two parts of a trilogy and the stitching occasionally shows. But somehow, that unevenness only adds to the credibility of what was at the time, a pretty brave show about the kinds of trials many New Yorkers had recently endured. The first act, March of the Falsettos, dealt with the changing concept of family in America, while the second tackled the AIDS crisis, giving the disease an insidious and appropriately chilling anonymity.

As a result, a great production of the show can be emotionally exhausting for all the right reasons. This production, by Acting Up, doesn’t quite reach that point, but it comes deliciously close. Much of the credit can go to its superb casting choices. Stephen Patterson is the perfect neurotic lynchpin as freshly out-of-the-closet Marvin. Glynis Ranney finds the ideal balance between high camp and vulnerability as his wife Trina. And as their son Jason, young Michael Levinson commands the stage with as much, if not even more presence than his adult co-stars. Then there’s Eric ‘jaws off the floor please’ Morin, who hits all the right marks as smarmy-turned-sympathetic muscle boy Whizzer. He handles the show’s radical shifts in tone with grace and conviction. He also oozes confidence – as Whizzer should, though truthfully, I would have liked to see him show a touch more vulnerability in Act 2. It’s there, but it’s a still a bit guarded, and letting it out some more would really have lit the necessary fire under Finn’s terrific closing songs.

Sunday Feature: Robert McQueen on directing Falsettos

The Bright, Dark Chaos of Family
by Robert McQueen

For Acting Up Stage Company Robert McQueen has directed Caroline, or Change and The Light in the Piazza. His other recent work includes productions of Capriccio for Pacific Opera Victoria, The Magic Flute for Vancouver Opera and La Bohème for the Canadian Opera Company. Internationally Mr. McQueen directed Carousel at the Galaxy Theatre, Tokyo and the world premiere of Where Elephants Weep in Phnom Penh, Cambodia. He has worked in the development of new musicals and operas in Canada, the US and internationally for companies including COC, Vancouver Opera, The O’Neill Centre and Cambodian Living Arts, in Phnom Penh.  Most recently Mr. McQueen directed a workshop of Leslie Uyeda and Rachel Rose’s new opera When the Sun Comes Out, which will have it’s premiere production next summer as part of the Queer Arts Festival in Vancouver. 

Mitchell Marcus’s invitation to join Acting Up Stage to create a production of William Finn’s musical Falsettos has been a gift. Composed of March of the Falsettos (1981) and Falsettoland (1990), Falsettos tells the story of a man who leaves his wife and son for his male lover against the backdrop of the very chaotic social and political climate that was 1980s New York City.  The special permission granted by Finn himself to revert to the original versions of these one acts, rather than the combined product which appeared on Broadway in 1992, has proven to be an infinite source of inspiration, as we have been able to craft our own piece which mines the way an original audience would have felt upon first seeing these one-acts in 1981 and 1990. 

Review: Do You Want What I Have Got? A Craigslist Cantata

Veda Hille, Bree Greig, Selina Martin, Dmitry Chepovetsky & Daren A. Herbert (Photo: Joanna Akyol)

Cantata Entertains but Confounds
Sing Me the Phone Book Instead
by Jason Booker

The way to judge Do You Want What I Have Got? A Craigslist Cantata depends on how you define it (as our Vancouver review of an earlier production proves). Do you use the monstrously long title as a reference to think of it as a cantata or do you view it the way my companion did: as a song cycle featuring the words of ads posted by random strangers?

Seeing as a cantata usually sets a sacred text to music for voices and an orchestra, Do You Want… partially succeeds since it features accompaniment by Veda Hille, the pianist and composer, and Barry Mirochnick on percussion; though Craigslist ads are far from sacred and two instrumentalists hardly comprise an orchestra. Besides how often does a cantata employ humour?

Review: Caroline, or Change

Michael Levinson, Arlene Duncan
(Photographer: Joanna Akyol)

Caroline's washing

A blend of fact and fantasy makes Caroline, or Change a winner

by Mary Lea

“Change does not roll in on the wheels of inevitability, but comes through continuous struggle. And so we must straighten our backs and work for our freedom. A man can’t ride you unless your back is bent.” Dr. Martin Luther King, Jr. 

Caroline, or Change, is not your typical musical. It is a piece that has the potential to move and inspire. Acting UP Stage Company and Obsidian Theatre Company are two powerhouses. It was a fantastic pairing.  I loved Tony Kushner's writing, Jeanine Tesori's music and the direction that Robert Mcqueen envisioned for this piece. I can’t possibly leave this man out: Reza Jacobs' musical direction was absolutely on point.