Review: Jake Epstein offers audiences a glimpse behind the curtain in BOY FALLS FROM THE SKY

"What do you do when life disappoints you?" is the question asked in the program of Jake Epstein's BOY FALLS FROM THE SKY. For Epstein, his life and career have been intertwined since childhood, with his dreams of performing woven into many choices he's made. What follows in the 70-minute production is an exploration of those choices and experiences, told by Epstein himself.

Presented by Mirvish, BOY FALLS FROM THE SKY is a recount of Epstein's career in performing. From a childhood family road-trip to New York where he saw his first Broadway musical and decided he would be a performer, through the highs and lows of his career, Epstein has masterfully woven funny stories, unbelievable experiences, and music from his different roles together. Under direction of Robert McQueen, who's also credited with development, and a range of collaborators credited with supporting the creation of this work from it's presentation at the 2019 Toronto Festival to now, Epstein shines in a story that couldn't be told by anyone else.

The format isn't quite a play, nor a musical, but it definitely incorporates elements of both. Right from the beginning, Epstein stops to engage with the audience, making it feel more like you're sitting down with a friend to catch up on their life. Even a small technical issue with his microphone was handled with ease, and offered up another chance for Epstein to connect with the audience and make a moment of uncertainty into a place for laughter.

Including the band (David Atkinson on keyboard, also credited as Music Director; Lauren Falls on bass, and Justin Han on drums) onstage gives Epstein other people to connect with, and while they're mainly there as musical accompaniment they feel as crucial to the show as Epstein does. Moments where Atkinson swaps his place at the piano with Epstein to play a young Jake in a vocal lesson, or when the band provides backing vocals to different numbers from Epstein's career, help enhance the mood needed at that moment.

A three-quarter view of a two-story loft space sits in the middle of the Royal Alexandra Theatre's stage, leaving the sides and back wide open for a full view of the behind-the-scenes space audiences usually aren't exposed to (set and prop design by Brandon Kleiman). Lighting (lighting design by Amber Hood) adjusts based on the tone of Epstein's current story, with the loft fully lit in the transitional moments, and lights either brightening or dimming with his moods. Another Easter egg aspect to the show is the use of coloured lights when Epstein performs numbers from his roles.

Whether you've heard of Epstein or not, any fan of Broadway musicals - or Degrassi, in which Epstein acted early in his career (and yes, he did attend Drake's bar mitzvah) - will find shout outs to songs, shows, and actors they know and love. When Epstein shares stories of meeting his heroes backstage the joy and excitement of those moments is palpable. The recollection of his family road trips, where his sister and he would re-enact the songs from their favourite musicals in the back of their parent's minivan, is probably a universal experience for most theatre fans (myself and my siblings included).

It's also refreshing to hear the behind the scenes of Epstein's experience in some extremely well-known musicals, from a rough experience with critics in Spring Awakening, to originating a role and facing the 'wall of hate' in Beautiful, based on the life of Carole King. While the audience only sees the spotlights, the costumes, and the soaring (literally, in the case of Epstein's time in Spiderman: Turn Off the Dark) musical numbers, there's plenty that happens backstage that casts a new light on show business. Epstein lays bare his struggles with stage fright, loneliness, and more as he navigated a career on stage. At times it's heartbreaking, but it's a perspective that audiences are rarely privy to which makes it all the more meaningful.

What's especially stand-out about BOY FALLS FROM THE SKY, and Epstein's story, is that it's possible to find connections to him and his story in ways you might not expect going into the theatre. During the opening of the show, the band performs an instrumental montage of songs (orchestrations, arrangements & musical supervision by Daniel Abrahamson) Epstein's performed in his career; what stood out to me was hearing a song by Green Day nestled in there. It was exciting to hear that song somewhere I hadn't expected to, given that I was sitting with my sister having grown up loving the band, and seeing the musical, together. Later, when Epstein discusses his time performing as Will in the touring production of American Idiot and powerfully delivers a rendition of 'Give Me Novacaine,' it gives way to a heart wrenching, honest parallel to the struggles he faced on the tour. Once I was home that evening I even did a quick search to discover that I had actually seen Epstein in that touring production when it stopped in Toronto back in 2012 as our first musical. It felt a bit like a full circle moment to be reminded of that moment while sitting in the Dress Circle of the Royal Alexandra as a critic 10 years later, hearing about the show from an actor who had been in it and part of my first live musical experience.

That's really what the real charm of BOY FALLS FROM THE SKY is; Epstein pulls aside the curtain and opens up on difficult moments from his past to share a new perspective on the shows audiences know and love. No matter where you come from something will make you laugh, or make your heart ache, or make you reconsider your perspective. Throw in some powerful performances, Epstein's innate charm and humour, and the palpable love and care that emanates from all aspects of the production and you've got a prime example of what makes storytelling (and live theatre) so special.

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BOY FALLS FROM THE SKY runs through May 29 at the Royal Alexandra Theatre, 260 King St W, Toronto.

For more information or to purchase tickets, visit www.mirvish.com/shows/boy-falls-from-the-sky

Photo credit: Cylla von Tiedemann

Editor's note: The previous version of this article stated that the writer was sat in the mezzanine; the proper location was the Dress Circle, and the article has been corrected to reflect that.

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