Interview: Meredith Shedden of FALSETTOS at The Annex Theatre

This weekend, Bowtie Productions opens FALSETTOS at the Annex Theatre. It’s the first Toronto production of the William Finn and James Lapine musical since the Musical Stage Company’s version in 2013. Winner of two Tonys for its book and score, FALSETTOS tells the story of Marvin, who tries to keep his family and community together—and plan his son’s Bar Mitzvah—after he leaves his wife Trina for his male lover Whizzer at the beginning of the 1980s AIDS crisis. BroadwayWorld spoke to Meredith Shedden, Bowtie Productions’ AD, and the production’s director, about the joys of working with the quirky cult favourite musical.

BWW: What appeals to you most about FALSETTOS? Why did you choose to present it?

SHEDDEN: FALSETTOS has been one of my favourite shows since I first heard the original cast recordings of March of the Falsettos and Falsettoland back in high school. I was a part of a pretty nerdy musical theatre friend group, and we obsessed over this show and the rest of William Finn's works, in fact Finn and Sondheim were pretty much our patron saints. FALSETTOS is one of those cult favourites that doesn't get produced very often, so we knew we'd be presenting a show that many die-hard fans would be excited to get a chance to see outside of the context of the 2016 revival pro-shot. I also, personally, think FALSETTOS is a perfectly written show, and it's been a dream to get to tangle with such absurd yet truthful lyrics, alongside the gorgeously unique through-sung music. 

BWW: Toronto has just experienced the much-hyped production of The Inheritance, Matthew Lopez's seven-hour drama that contrasts the AIDS crisis of the 1980s with its perception in the gay community today. March of the Falsettos, the show's first act, was written in 1981, when the first reported cases of AIDS were recorded. Falsettoland, the second act, written in 1990, deals with that initial time period of mystery and uncertainty over the disease. What does FALSETTOS add to this conversation about the history of AIDS and the people it impacted?

SHEDDEN: Something I have noticed throughout this rehearsal process is that FALSETTOS surprises the audience with Whizzer's AIDS diagnosis in such a way that even I sometimes forget that that element of the story is approaching. This show focuses so heavily on fleshing out its characters and their day-to-day dramas for the first two thirds of our time with them, that I don't at first think of Whizzer as "the character who gets AIDS," because before that, he's the character who's cheeky, and stubborn, and great at sports, and a role model to Marvin's son, Jason. Much like it was for many who were affected by the AIDS epidemic, Whizzer's story is interrupted and everyone is forced to switch gears. I think the combination of emulating that abrupt feeling of uncertainty, alongside allowing time for the audience to get to know these characters before AIDS affected their lives, is a major success on William Finn and James Lapine's part. 

BWW: What are the challenges of putting on a show like FALSETTOS, and what are the opportunities?

SHEDDEN: FALSETTOS is a powerhouse of cultural content, emotional vulnerability, and technical complexity, so it is fair to say that there were many challenges/opportunities for growth. As an emerging director, and this being the first full-scale production I've had the opportunity to lead since graduating from theatre school two years ago, I would have to say the lightning fast transitions between musical numbers (or sometimes even within musical numbers) were where I learned the most. This is the kind of show where you need to know exactly where you're coming from and where you want to end up, because it is a train that just keeps chugging along. Those challenges were absolutely worth the extra time and effort though, because the pacing of FALSETTOS is one of the many reasons why it's one of my favourite shows, and a cut above the rest. 

BWW: How does the production engage with the show's Jewish themes?

SHEDDEN: As a lesbian woman, my identification with FALSETTOS has always been connected to its queerness, but as an admittedly, non-Jewish person (though long-time lover of New York/Montreal/Torontonian Jewish culture), I knew it would require extra care and tact when engaging with that element of the show. I am so grateful to have shared this creative process with our music director, Ethan Rotenberg, who, on top of his expert musicianship and leadership skills, was so generous in helping me navigate this story and fill in the gaps in my knowledge. I would also like to shout out our Jewish actors, without whom this show really couldn't have happened, their performances are funny, smart, vulnerable, and honest, and we are so lucky to get to see them in action.

BWW: How are you hoping the show will resonate with audiences?

SHEDDEN: For those who have been long-time fans of FALSETTOS, I'm hoping this production can join their treasured memories of this show and provide new or expanded perspectives on these characters and their stories. For those engaging with FALSETTOS for the first time, I hope it's joyful, cathartic, relatable, nostalgic, and most of all, a story that will stick with them long after they leave the theatre. 

FALSETTOS runs at the Annex Theatre until April 27th.

Photo of the cast of FALSETTOS provided by the company

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