William Finn, who conceived Falsettos over a 10-year period, so named his musical because "these were characters outside the normal range." A musical about a man who leaves wife and son for a male lover, a psychiatrist who get close and way-too personal with his patients, a lesbian couple, and a challenging love story -- that barely touches the themes of Falsettos. Funny, amusing, poignant, and sad are just a few words that describe Finn's music and lyrics, which demand a lot from the cast. He requires not only a musical range but also a rollercoaster emotional range. Incidentally, the spoken dialog comprises just a few sentences, the story is told in the lyrics.
The pivotal character is Marvin (Jon Levenson), a man torn between his love of Whizzer (Warren G. Nolan, Jr.) and his wife and son, Trina and Jason (Melissa Supera-Fernandes and Matthew Ira Bohrer). Thus, all are thrown into counseling under psychiatrist Mendel (Andy Collins). Jason, at twelve and a half is close to his Bar Mitzvah, an affair catered by lesbian Cordelia (Sandy Campbell) with the aid of her doctor lover Charlotte (Susan Hammons).
Levenson is excellent as a father trying to retain the love of his son while pursuing his new love interest. Supera-Fernandes portrays a kaleidoscope of emotions: loving her husband, hating her husband, passionate about her son, fascinated by her shrink, and loving and hating her now ex-husband's lover. Their relationship rings true, as do those of the rest of the strong-singing cast.
Bohrer, at fourteen, is a natural actor. His actions and reactions are believable as a son torn between the love of his father and his anger of his father for leaving the home. Bohrer is also a natural comedian who handles this character's reactions to the vicissitudes of his dysfunctional family situation adeptly.
Collins portrays a totally non-conformist psychiatrist with charm and a certain amount of smarminess that logically twists his character's professional relationships into very personal relationships. Nolan, as Whizzer (Marvin's lover), also plays a complex character whose life is much too controlled by Marvin. He is blessed with an excellent voice.
Campbell's Cordelia is sparkling both in her passion for her lover, Charlotte, and her joyful attitude towards catering. Hammons' Charlotte is a nice serious contrast as a doctor faced with the trauma of AIDS patients, balanced by her love of Cordelia.
Director Tim Irving proves, again, his ability to cast well. His talented cast are capable of handling an extremely difficult score with lyrics that turn almost Gilbert and Sullivanish in tempo and density. Much of the credit in the musical interpretation falls on the immense talents of G. Scott Lacy's musical direction.
Set Designer David Weiner provided a stylized New York skyline for the upstage wall and a wing in austere white with a simple line of score painted on it. Moveable set pieces offer a variety of locations as well as the multilevel set. Lighting by Mike Durst is well executed with all the proper accents. Costumes by Shulamit Nelson also help define some events. Justin Gray's orchestrations work well, giving an excellent balance between instrument and voices.
Falsettos easily maintains Diversionary's long-standing excellence in theater by entertainingly exploring relationships, loves, and the problems that they inevitably cause. One comment by an audience member says it all: "I've seen the Globe version and on Broadway. This is the best!"
