Review: FALSETTOS at Ground Floor Theatre

Ground Floor Theatre’s production of Falsettos is a vibrant, emotionally charged rendition of William Finn and James Lapine’s Tony-winning musical, and it masterfully navigates themes of love, family, identity, and loss, all set against the backdrop of 1970s and 1980s Jewish culture. The musical, originally conceived by merging two one-act plays (March of the Falsettos and Falsettoland), provides an intricate narrative that is both poignant and humorous. However, this dual-origin also creates challenges in tonal and structural coherence, particularly in the transition between Act I and Act II.

At its core, Falsettos explores the complexities of a nontraditional family and the fragile connections that hold them together. Marvin (Jason Rosenbaum), a neurotic and self-centered man, has left his wife, Trina (Megan DeYoung), for his charismatic male lover, Whizzer (Nicholas Hunter). Despite the upheaval, Marvin remains determined to create a "tight-knit family" that includes his ex-wife, their precocious son Jason (Juno McQueen), and his new partner. This unconventional arrangement becomes a battleground for clashing desires, unresolved tensions, and shifting loyalties.

Amid the family drama, Jason’s approaching bar mitzvah serves as both a comedic and poignant subplot. The milestone, steeped in Jewish tradition, becomes a symbol of stability in an otherwise chaotic world. Trina wrestles with her insecurities as a newly divorced woman while navigating her budding relationship with Marvin's psychiatrist, Mendel (Max Green), who moves into their lives with equal parts hilarity and wisdom. Meanwhile, Whizzer and Marvin struggle to define their turbulent romance, characterized by love, power struggles, and vulnerability.

As Act II unfolds, the narrative broadens with the introduction of Dr. Charlotte (Coty Ross) and Cordelia (Jessica Terán), a lesbian couple who provide a sense of community and support while bringing their own humor and depth. The bar mitzvah planning remains central, but the focus shifts dramatically as Whizzer falls gravely ill, forcing the fractured family to confront mortality, redefine love, and rediscover what it means to be truly united.

As a fully sung musical with no spoken dialogue, Falsettos is a vocal marathon, requiring the cast to navigate Finn’s intricate score and perform 38 songs in just over two hours. The rapid-fire lyrics, tight harmonies, and emotional transitions demand incredible vocal acrobatics, and the cast rises to the occasion. Backed by a small on-stage orchestra that adds intimacy to the production, they bring energy and depth to numbers like the sardonic “Four Jews in a Room Bitching,” the introspective “The Games I Play,” and the moving “Unlikely Lovers.”

Director Trace Turner leans into the absurd humor of Finn’s lyrics, amplifying comedic moments that poke fun at Jewish culture, fractured families, and queer relationships. This approach lends the production a lighter, more accessible tone, particularly in Act One, though it occasionally risks undercutting the emotional weight of the story’s poignant moments. Choreographer Richard Cerato cleverly incorporates signature dance moves from the 1970s, the aerobics craze of the 1980s, and traditional Jewish motifs, creating a vibrant and eclectic movement vocabulary that enhances the show’s unique style. 

The costumes - designed by Jana Zek - might just steal the show, perfectly capturing the sassiness of the 1970s and the exuberance of the 1980s with impeccable style. From psychedelic prints to bold, bright colors, every piece exudes personality—especially the flamboyant jackets and those fabulous bell-bottom pants. Seriously, where can I get my hands on a pair?

The cast delivers standout performances that ground the production in authenticity and heart. DeYoung is a comedic tour de force as Trina, shining in the hilariously chaotic “I’m Breaking Down,” which she performs while navigating the stage on roller skates. McQueen captivates as Jason, balancing precocious humor with vulnerability, particularly in numbers like “My Father’s a Homo” and “Everyone Hates His Parents.” Rosenbaum’s Marvin brings depth and raw emotion, his journey from selfishness to love and loss resonating powerfully in songs like “What More Can I Say.”

Hunter’s portrayal of Whizzer is magnetic, blending charm and vulnerability, especially in the gut-wrenching “You Gotta Die Sometime.” Green brings boundless physical comedy as Mendel, whose antics in songs like “Love Is Blind” provide much-needed levity while offering surprising wisdom. In Act Two, Ross and Terán bring warmth and humor to the lesbian couple, particularly in the darkly funny “Something Bad Is Happening,” though their late introduction highlights the inherent difficulty of integrating two separate musicals into one cohesive narrative.

Ground Floor Theatre’s Falsettos is a memorable exploration of unconventional family dynamics and the enduring power of love and tradition. Despite the play’s structural challenges, the production’s strong performances, vibrant costumes, and dynamic musicality make it a compelling theatrical experience. Whether you’re drawn to its heartfelt story, its humor, or simply those incredible vintage costumes, this production is a must-see.

Runtime: 2 hours including intermission

Falsettos

Music and Lyrics by Wiliam Finn

Book by William Finn and James Lapine

Direction by Trace Turner

Music Direction by Trey Shonkwiler

Choreographed by Richard Cerato

Now playing through December 21st, 2024

Thursdays - Saturdays at 7:30 PM

Sundays at 5:00 PM

Ground Floor Theatre

979 Springdale Rd | Suite 122 | Austin, TX  78702

 

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