"Love can tell a million stories"—this is the mantra of Falsettos. Blending humor, drama, and unforgettable music, this multi-award-winning musical was widely acclaimed upon its release, tackling topics considered taboo by society.
Falsettos is a two-act musical adapted from a book of the same title. Written and composed by William Finn and James Lapine, it premiered at the John Golden Theatre on April 29, 1992. The success of Falsettos can be attributed to the context of its release in the 1990s—a time when LGBTQ+ stigma and the HIV/AIDS epidemic were heavily impacting artistic movements. Despite this, Falsettos dared to tell a gay love story.
The musical was nominated for seven Tony Awards, winning Best Book of a Musical and Best Original Score. Its Broadway revival, which was filmed, also received five Tony Award nominations.
Act 1: The Introduction of a Dysfunctional Family
March of the Falsettos serves as both the first act of the book and the first act of the musical. The story begins in 1979 in New York, within a dysfunctional Jewish family. Marvin, a gay father, his lover Whizzer, his psychiatrist Mendel, and his 10-year-old son Jason are in the middle of an argument (Four Jews in a Room Bitching). Marvin’s ex-wife and Jason’s mother, Trina, joins them, expressing her frustration at being excluded by the men in her family. She then visits Mendel, the psychiatrist, while Marvin reflects on his family’s history (A Tight-Knit Family / Love is Blind).
We learn more about Marvin’s traditional and misogynistic views on family—he sees himself as the head of the household and expects both his wife and his lover to cook and clean for him. Each character's perspective on love, a central theme of the musical, is explored, highlighting how love takes different forms and plays a fundamental role in their lives.
The next song (The Thrill of First Love) delves into Marvin and Whizzer’s relationship. It reveals how Marvin tries to force Whizzer into the role of a housewife, exerting control over him. This song also underscores their conflicts and differing expectations: Marvin desires a stable, long-term relationship, while Whizzer is only interested in casual affairs.
Marvin then visits Mendel, his psychiatrist (Marvin at the Psychiatrist – A Three-Part Mini Opera), to discuss his struggles with Trina, Whizzer, and Jason. It becomes clear that Marvin doubts Whizzer’s love for him. Meanwhile, Mendel, in addition to being an unprofessional psychiatrist, is attracted to Trina and hijacks the session by asking about Marvin’s ex-wife. Marvin also wants to repair his relationship with Jason and seeks advice on the matter.
The next songs (My Father’s a Homo / Everyone Tells Jason to See a Psychiatrist and This Had Better Come to a Stop) focus on family dynamics. Trina and Marvin try to convince Jason to see a psychiatrist, believing he is too withdrawn. Ultimately, it is Whizzer who successfully persuades Jason, suggesting that Jason trusts him more than his own parents. Later, Marvin criticizes Whizzer for not preparing dinner, once again revealing his desire to make his lover a housewife. Whizzer and Trina express their frustrations about loving someone like Marvin. Jason and Mendel join in, highlighting Marvin’s tendency to blame others for his problems.
Trina then delivers her first solo (I’m Breaking Down), where she reveals the immense mental burden she carries by constantly playing the role of the cheerful and resilient wife.
Act 2: Falsettoland
Between Act 1 and Act 2 (Falsettoland), over a year has passed. Jason is now 12 years old and preparing for his Bar Mitzvah, a Jewish coming-of-age ceremony. Marvin and Trina have learned to get along for Jason’s sake and share custody of him. Trina and Mendel are still together, while Marvin and Whizzer have broken up.
The opening number of Act 2 (Falsettoland) introduces the characters and two newcomers: Dr. Charlotte and her partner, Cordelia.
Jason appears less interested in his Bar Mitzvah than Mendel, Charlotte, Cordelia, Trina, and Marvin. His parents argue over the ceremony’s organization (Year of the Child). Jason, on the other hand, is more preoccupied with deciding which girl to invite (Miracle of Judaism) but struggles to find anyone he’s interested in. During his baseball game, his family comes to support him (The Baseball Game). Invited by Jason, Whizzer attends the game and reconnects with Marvin. Shortly after, they rekindle their romantic relationship.
The following scenes depict a day in the lives of the three couples: Mendel complains about his job and is no longer satisfying Trina sexually, Charlotte and Cordelia rest after a long day of work, and Marvin and Whizzer happily play racquetball together, enjoying their reunion. Meanwhile, Jason, frustrated by his parents’ constant arguments over the Bar Mitzvah, considers canceling it (Everyone Hates His Parents).
However, after this period of happiness, Charlotte begins to notice a mysterious illness affecting the gay community (Something Bad is Happening). This disease—AIDS—strikes suddenly when Whizzer collapses during a racquetball match against Marvin (More Racquetball). He is hospitalized and diagnosed with HIV. Trina realizes the gravity of the situation and reflects on the importance of family, despite its dysfunction (Holding to the Ground).
The rest of the characters gather at the hospital (Days Like This). Jason hesitates to cancel his Bar Mitzvah due to Whizzer’s condition (Canceling the Bar Mitzvah), but ultimately decides to hold it in Whizzer’s hospital room (Jason’s Bar Mitzvah).
At the end of the ceremony, Whizzer succumbs to AIDS. The stage transforms into a cemetery, where Marvin mourns the loss of his love (What Would I Do). The musical concludes on a somber note: Jason places a chess piece on Whizzer’s grave, and the entire family embraces, bringing the show to a close.
When Fiction Meets Reality
While Falsettos may seem like just another musical, it is deeply rooted in the social and historical realities of the 1980s. Each character embodies an issue of the time. Trina, for instance, represents women’s struggles and mental burden. Her solo (I’m Breaking Down) illustrates the often invisible roles women are expected to fulfill and the pressure to maintain an image of happiness.
Whizzer, on the other hand, represents the victims of AIDS—a disease that devastated much of the gay community in the 1980s. His fate is foreshadowed throughout the musical, particularly in (More Racquetball), where he collapses while playing against Marvin.
Finally, the minimalist set design—a simple cube—symbolizes the family. It is dismantled and rebuilt throughout the acts, emphasizing the tensions and reconciliations that shape the story.
Falsettos is not just a musical; it is a reflection of real struggles. We highly recommend it, especially in today’s context.
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