Hitting All the High Notes

Falsettos

You may want to take a deep hit of oxygen before the manic opening musical number of this show. Why? Well, the clever patter song that introduces the main characters hits all the high notes, and might leave you breathless, with its lightning-paced lyrics and waves of emotion. And that’s just in Act I. Then, get ready for the racing roller coaster ride that’s Act II. This show packs more concerning the human condition into its first hour than in any play in recent memory. It’s peopled with seven realistic, multilayered characters who (like many of us) are continually dissatisfied with their lives for various reasons. The musical is tightly packed with 37 songs, a number of finely choreographed interludes, a countless subtle scenic changes and a tsunami of emotions.

This full-length musical, co-produced by Chicago’s highly respected Court and TimeLine Theatres, actually melds two 75-minute one-acts, that originally appeared separately, but now play back-to-back in one production. With music, book and lyrics by William Finn (“A NEW BRAIN, THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE) and libretto contributions by James Lapine (INTO THE WOODS, PASSION), the story begins in 1979. Marvin has recently divorced his wife, Trina, because he’s found love with a handsome young man named Whizzer. Trina and Marvin also have a spirited young son named Jason, and they all have sessions with a therapist, named Mendel. 

The relationships between these five characters go through plenty of ups-and-downs, with Trina and Mendel eventually falling in love and marrying, Marvin and Whizzer breaking up and getting back together, Jason preparing for and then refusing his bar mitzvah, and the introduction of Dr. Charlotte and her partner Cordelia, referred to as the “Lesbians next door.” The tone of the second act, which takes place two years later, builds happily until the mood suddenly changes when, as the Doctor sings, “Something Bad is Happening.”

This is a topnotch, professionally polished production, 

co-produced by two highly-respected Chicago theatre companies. Staged with spunk, spirit and an eye for detail by a master Director, Nick Bowling, and with vigorous, choreographed Movement Direction by William Carlos Angulo. Musical Direction is provided by Otto Vogel, who also conducts the four gifted backstage musicians on synthesizer, percussion, bassoon, flute, clarinet and alto sax. Although the musical is 32 years old, this production looks and sounds fresh and original, as if it’d been recently written. Arnel Sancianco’s sparse Scenic Design is peppered with a few pieces of movable furniture and dominated by the rainbow colors of the gay flag. Josiah Croegaert has Lighted the production with dazzling color and cleverness, bathing the production in light while creating the mood of the moment. And the wonderful Theresa Ham Costumes her cast, first in the bright, happy colors of the rainbow flag, and then tastefully mutes her palette to somber grays as the mood of the story changes.

The cast is handsome and talented, with some Broadway credits on their resumes. Jeff Award-winner Stephen Schellhardt (INTO THE WOODS at Paramount, THE FULL MONTY at Marriott) strongly leads the cast as Marvin, an ever-dissatisfied Jewish man who never appreciates the happiness in life until it becomes too late. He introduces all the characters with his number, “A Tight Knit Family;” and later, he bares his soul with a heartfelt, “What More Can I Say?” Schellhardt dazzles in duets like “Thrill of First Love,” “Father and Son” and “What Would I Do?” 

As Whizzer, handsome and talented Jack Ball dazzles as a gay young man who isn’t quite sure he’s ready for monogamy, but eventually discovers that he’s fallen in love with both Marvin and his family. Ball is remembered for his performance in Paramount’s LITTLE SHOP OF HORRORS, and on Broadway for THE BOOK OF MORMON. The actor opens his heart in this show with “The Games I Play” and the poignant “You Gotta Die Sometime;” then he shares the stage with his cast mates in rousing, humorous songs like, “March of the Falsettos” and “Welcome to Falsettoland.”

Seen in Paramount’s INTO THE WOODS and CINDERELLA, as well as for her Broadway performance in BEAUTIFUL: THE CAROL KING MUSICAL, Sarah Bockel is a gorgeous standout as Trina, Marvin’s exwife. She commands the stage, especially in two exquisite numbers: the hilarious and tragic, “I’m Breaking Down,” and “Holding to the Ground.” The always reliable, likable and very talented Jackson Evans, who was seen as Nathan Detroit in Drury Lane’s excellent GUYS AND DOLLS and Paramount’s recent production of  THE FULL MONTY, is delightful as Mendel, the psychiatrist. He provides the necessary backup in songs like the wonderfully silly opening number, “Four Jews in a Room Bitching,” as well as in “A Marriage Proposal” (with Trina) and the hilarious “Everyone Hates His Parents.” Alternating the role of young Jason with Charlie Long (seen in the title role of Paramount’s CHARLIE AND THE CHOCOLATE FACTORY), Eli Vander Griend (BILLY ELLLIOT, SCHOOL OF ROCK at Paramount) brings the humor, rebelliousness and tween angst to his portrayal of Jason. His spunky persona and clear vocals add much to the musical numbers, particularly in “The Miracle of Judaism.”

Playing the “Lesbians next door,” Sharriese Hamilton is stellar as Dr. Charlotte. This popular Chicago actress, with the fantastic voice and winning smile, has the appropriate attitude for this role. She’s been seen in Goodman’s delightful THE NACIREMA SOCIETY and, more recently, in Drury Lane’s AIN’T MISBEHAVIN. As her partner, Cordelia, Elizabeth Stenholt is a Jeff Award-winning actress for Paramount’s production of FUN HOME and was simply wonderful in Steppenwolf’s AIRLINE HIGHWAY. Gifted with a terrific voice, Ms. Cardwell is very funny as a chef and personal planner, who becomes obsessed with creating the perfect taste treats for Jason’s bar mitzvah.

The score is filled with a variety of musical styles. Delivered by an incredibly talented cast, there are some rich, lovely ballads, a number of sprightly uptempo numbers and a few recitatives that fill out this sung-through contemporary opera. But it’s William Finn’s clever, often biting lyrics that make each musical number so unique. Finn and Lapine’s musical addresses a lot of issues, from the changing face of love, aging, fidelity, religious devotion and facing down death. Nick Bowling’s collaborative production between the Court and TimeLine Theatres is strong, fresh and filled with emotional electricity. It’s a tale of a “Tight Knit Family” who, like all families, must come to terms with all the ups and downs and various challenges of life. This production definitely hits all the high notes.

Highly Recommended

Reviewed by Colin Douglas

Presented November 8-December 8 by the Court Theatre, 

5535 S. Ellis Ave., Chicago.

Tickets are available in person at the theatre box office, by calling 773-753-4472 or by going to www.CourtTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.