Falsettos

Emerging from a combination of three separate one-act musicals (In Trousers, March of the Falsettos, Falsettoland), Falsettos rose to become one of the most influential musical comedies of the early 90s. The show is famous for having almost no connecting dialogue; the story is presented entirely as a series of cleverly written songs. Like many of Finn’s pieces, Falsettos attempts to answer difficult social questions related to the meaning and significance of family.

Resounding hits like ‘Our Pain’ and ‘What More Can I Say?’ have attained the status of cult classics. The musical’s uncanny ability to remain light-hearted while taking a fierce stance on social problems that are relevant to this day. Director James Lapine, a frequent associate of the immensely popular Stephen Sondheim, adds a completely unique flavour to Falsettos with his elliptical storytelling. This is certain to be one of the top musicals featuring at the West End this year, and tickets are expected to be on high demand.

When a considerably well-off and resourceful New Yorker named Marvin leaves his wife to live with his boyfriend Whizzer, Trina finds herself overwhelmingly depressed. Marvin hopes that Trina, Whizzer, and his son Jason will be able to get along eventually. Unsurprisingly, the troubled couple ends up visiting Mendel, an accomplished psychiatrist. What ensues is an emotional rollercoaster ride. The characters are torn apart and brought together again in encounters that would have been incredibly tense if not for the musical’s ingenious storytelling that manages to keep everything lighthearted. In the second act, the characters mature and begin to accept life the way it is. In a moving display of affection, Marvin sings “What More Can I Say?” to a sleeping Whizzer as a prelude to Falsettos heartrending conclusion.

Fans of the Original 1992 Falsettos Production | Teen and Adult Audiences

“When the agitated melodies relax into lyricism — oh, my. The music and words reach deep inside and trigger all sorts of emotions.”
– Los Angeles Times

“This production, a forced marriage of two one-acts, "March of the Falsettos" (1981) and "Falsettoland" (1990), is lively and pointedly without a whiff of tired.”
– New York Theatre Guide