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Marvin Trilogy

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From Wikipedia, the free encyclopedia

Marvin Trilogy
MusicWilliam Finn
LyricsWilliam Finn
BookWilliam Finn; with James Lapine from March of the Falsettos onward

The Marvin Trilogy is a trilogy of one-act musicals created by William Finn. It consists of In Trousers (1978), March of the Falsettos (1981) and Falsettoland (1990). The musicals center on Marvin, who has left his wife to be with a male lover, Whizzer, and struggles to keep his family together. The first piece of the trilogy (In Trousers) follows an adult Marvin recalling the formative relationships of his adolescence as he confronts his sexuality. Much of the second piece (March of the Falsettos) explores the impact his relationship with Whizzer has had on his family. The third piece (Falsettoland) focuses on how family dynamics evolve as Marvin and Trina plan for their son's bar mitzvah, complicated by Whizzer falling ill with an unnamed disease understood to be AIDS. Central to the musical are the themes of Jewish identity, gender roles and gay life in the late 1970s and early 1980s.

March of the Falsettos and Falsettoland were later combined into one musical titled Falsettos with music and lyrics by Finn and a book by Finn and Lapine. March of the Falsettos forms the first act of Falsettos, distinct from its role as the second installment of the Marvin Trilogy, where it follows In Trousers.

Works

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Musical Music Lyrics Book Premiere date Premiere Location Closing Date
In Trousers William Finn William Finn December 8, 1978 Playwrights Horizons December 18, 1978
February 21, 1979 March 18, 1979
March of the Falsettos William Finn and James Lapine April 9, 1981[a] September 26, 1981[1][2]
Falsettoland June 28, 1990 September 12, 1990[b][3]
Falsettos William Finn William Finn and James Lapine April 29, 1992 John Golden Theatre June 27, 1993[4]

In Trousers (1978)

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Composer William Finn began his theater career with the one-act musical In Trousers. It began as a set of songs Finn performed with three women, including Alison Fraser and Mary Testa, in his apartment. Playwrights Horizons artistic director André Bishop and the theatre's musical theater director, Ira Weitzman, each attended an apartment performance and offered to workshop the piece in the company's new musical theater lab.[5] The musical was workshopped at Playwrights Horizons, where it had an initial staging of eight performances from December 8 to 18, 1978, with Finn himself playing the lead role of Marvin.[5] It was remounted at Playwrights Horizons' larger downstairs space the following year, from February 21 to March 18, 1979, with Finn stepping back to direct, Chip Zien taking over as Marvin, and Michael Starobin serving as musical director, going on to work as musical director and orchestrator on the two musicals that followed.[6][7] In Trousers was revived off-Broadway by Second Stage Theater, opening on February 22, 1981, and playing 15 performances.[8] The show was rewritten again for an off-Broadway revival at the Promenade Theatre in 1985; reviewing the revival, Frank Rich praised Starobin's orchestrations, writing that the melodies "linger well after the final curtain."[9] During the 1985 production, Stephen Bogardus briefly took over the title role from originating actor Tony Cummings for the production's final performances.[10][11]

The musical centers on Marvin, who has a wife and child. He recalls the past relationships he shared with, among others, his high school sweetheart and Miss Goldberg, his English teacher who let him play Christopher Columbus in the school play, and then reveals he prefers to be with men. Torn between his natural inclination and his desire not to upset his family life as he knows it, Marvin ultimately decides to leave his wife, setting up the situation that opens March of the Falsettos.

March of the Falsettos (1981)

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Finn continued writing about Marvin under the working titles "The Pettiness of Misogyny" and then "Four Jews in a Room Bitching", presenting a concert workshop of the latter at Playwrights Horizons in April 1980, again with Finn himself playing Marvin, alongside Alison Fraser as Trina, John Sloman as Whizzer, Lonny Price as Mendel, and John Turturro as a separate psychiatrist-adjacent character named Irving.[12] James Lapine was brought in to help shape the material into a coherent book, persuading Finn to merge Irving with the show's psychiatrist character, Mendel, and to retitle the piece March of the Falsettos.[13] The finished show premiered at Playwrights Horizons' Studio Theatre on April 9, 1981, the day before Frank Rich's rave review ran in The New York Times, with Michael Rupert as Marvin, Alison Fraser as Trina, Stephen Bogardus as Whizzer, Chip Zien as Mendel, and James Kushner as Jason, before transferring to the Playwrights Horizons mainstage on May 20, where it ran through September 26, with Starobin serving as musical director and orchestrator.[14][1] It moved to the Westside Theatre in October 1981.[15] It subsequently played Los Angeles in 1982, again with Starobin as musical director and orchestrator.[16] The show's UK premiere followed at the Library Theatre in Manchester, where the first European performance was given on January 29, 1987, directed by Roger Haines and Paul Kerryson,[17] with Martin Smith as Marvin, Barry James as Mendel, Paddy Navin as Trina, Simon Green as Whizzer, and Damien Walker as Jason; the production transferred to the West End's Albery Theatre for a limited run from March 24 to April 18, 1987.[18]

In 1979 New York City, Marvin tells the audience that he has left his family, his wife Trina and son Jason, for a male lover named Whizzer. Marvin recommends that Trina get help with his psychiatrist, Mendel. The two end up getting engaged, much to Marvin's dismay. Meanwhile, he and Whizzer have several relationship problems and have an on-again, off-again bond. Marvin tries to teach Whizzer to play chess and, after letting Whizzer win a game, finds his own resentment boiling over; the two break up for the final time. At the same time, Jason battles his questions about his parents' divorce and individual relationships. As a result, Trina sends him to therapy with Mendel which seems to help the child. In the final scene of the show, Marvin gets an invitation to Trina and Mendel's wedding, which makes him mad enough to hit Trina. He apologizes to Jason for his behavior.

Falsettoland (1990)

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Almost a decade after March of the Falsettos, in the wake of the ravages of the 1980s AIDS epidemic, Finn followed with Falsettoland. Finn and Lapine decided to revisit the show's characters within the context of the epidemic, adding two new characters, a lesbian couple, one of whom is a physician; Finn wanted to weave a bar mitzvah and a death into the story, while Lapine's challenge was keeping the material entertaining without diminishing its seriousness, saying the show was intended to "educate an audience about people" rather than about AIDS itself.[19] Falsettoland opened at Playwrights Horizons on June 28, 1990, and closed there on September 12, 1990, after 77 performances, again with Michael Starobin serving as musical director, conductor, and orchestrator.[3] It transferred to the Lucille Lortel Theatre on September 14, 1990, opening officially there on September 25, and closed on January 27, 1991, after 176 performances at the Lortel.[3][20][21] During the run, Rupert was succeeded as Marvin by Scott Waara, and Zien by Lonny Price as Mendel.[3]

The National Asian American Theatre Company later mounted acclaimed all-Asian-American revivals of Falsettoland, first in a 1998 production at the Dimson Theatre, which opened on July 16 and played 29 performances,[22] and again in 2007 as part of the first National Asian American Theatre Festival.[23]

Two years later, Trina and Mendel are married, Marvin and Whizzer are still separated, and Jason is about to turn thirteen. Also in the group of friends are two lesbians who live next door to Marvin, medical doctor Charlotte and aspiring chef Cordelia. Trina and Marvin are forced to spend time together as they have to plan for Jason's bar mitzvah, which he is not too excited about. Marvin and Whizzer rekindle their relationship. Through the show, Dr. Charlotte grows concerned about an unknown virus that it is later heavily implied, and clear through context to be HIV/AIDS. Whizzer soon after becomes sick with the illness. Jason decides to hold his bar mitzvah at the hospital with Whizzer, before he dies.

Falsettos (1992)

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March of the Falsettos and Falsettoland were combined into a single, full-length show titled Falsettos, with a book by Finn and Lapine slightly revising both one-acts to form a "more unified, more thematically consistent" musical.[24] Falsettos opened on Broadway at the John Golden Theatre on April 29, 1992, and closed on June 27, 1993, after 487 performances, directed by Lapine, with Michael Rupert as Marvin, Stephen Bogardus as Whizzer, Barbara Walsh as Trina, Chip Zien as Mendel, Jonathan Kaplan as Jason, Heather MacRae as Charlotte, and Carolee Carmello as Cordelia.[25][26] It won two of seven Tony Award nominations, for Best Book of a Musical and Best Original Score.[27]

A Broadway revival directed by Lapine began previews at the Walter Kerr Theatre on September 29, 2016, officially opening on October 27, with Christian Borle as Marvin, Andrew Rannells as Whizzer, Stephanie J. Block as Trina, Brandon Uranowitz as Mendel, Anthony Rosenthal as Jason, Tracie Thoms as Charlotte, and Betsy Wolfe as Cordelia; it closed on January 8, 2017, and received five Tony nominations.[28][29] Two performances were filmed and broadcast on PBS's Live from Lincoln Center on October 27, 2017.[30]

Cast

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Character In Trousers[31] March of the Falsettos[32] Falsettoland[3] Falsettos Falsettos (2016 Revival)
Marvin Chip Zien Michael Rupert[c] Christian Borle
Whizzer Stephen Bogardus Andrew Rannells
Trina[d] Alison Fraser Faith Prince Barbara Walsh Stephanie J. Block
Mendel Chip Zien[e] Brandon Uranowitz
Jason James Kushner Danny Gerard Jonathan Kaplan Anthony Rosenthal
Charlotte Heather MacRae Tracie Thoms
Cordelia Janet Metz Carolee Carmello Betsy Wolfe
Marvin's Sweetheart Joanna Green
Miss Goldberg Mary Testa

Recurring performers

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Several performers recur across multiple installments of the trilogy and the combined Falsettos. Alison Fraser originated Marvin's wife across all three initial In Trousers stagings (1978–79) before continuing as Trina in the 1980 workshop and 1981 premiere of March of the Falsettos; she did not continue into Falsettoland or Falsettos, where Faith Prince and Barbara Walsh originated the role, respectively. Reflecting on the role decades later, Fraser recalled that "my Trina in Trousers, especially, [was] initially a darker lady than she has evolved into."[33] Mary Testa similarly originated Miss Goldberg across the earliest In Trousers stagings, but was unavailable for the 1980 Four Jews in a Room Bitching workshop while making her Broadway debut in Barnum; the character was subsequently written out as the show was reworked into March of the Falsettos, ending her involvement in the trilogy.[12]

Chip Zien originated Marvin in the 1979 In Trousers production, then shifted to the role of Mendel beginning with the 1981 premiere of March of the Falsettos, continuing in the role through most of the Falsettoland run and reprising it again for the 1992 Falsettos. Lonny Price's connection to Mendel bookends Zien's: Price originated an early version of the role in the 1980 workshop, before it was reworked and recast with Zien for the finished March of the Falsettos; Price later returned to the role, succeeding Zien as Mendel partway through the Falsettoland run.

Michael Rupert originated Marvin in the 1981 premiere of March of the Falsettos and continued in the role through its Los Angeles transfer and the original Falsettoland run, in which he was succeeded by Scott Waara; he returned to the role for the 1992 Falsettos, where he was in turn succeeded by Mandy Patinkin in January 1993.[34] Rupert later recalled that Finn and Lapine were insistent the show not be understood as simply a "gay play," but rather the story of a flawed, loving family whose members happened, in part, to be gay.[35] Stephen Bogardus originated Whizzer in March of the Falsettos and remained in the role continuously through Falsettoland and the 1992 Falsettos; before that, he had briefly played Marvin himself, taking over the title role for the final performances of the 1985 In Trousers revival.[11] Heather MacRae originated Dr. Charlotte in Falsettoland and reprised the role in Falsettos.

Carolee Carmello's connection to the material comes through the combined Falsettos rather than the original one-acts: she originated Cordelia on Broadway in 1992, played Trina in both the first and second national tours, and moved back to Cordelia for the second tour's closing engagement in Los Angeles in 1994.[36][37][38]

Characters

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  • Marvin, Whizzer's lover, Trina's former husband, and Jason's father.
  • Whizzer, Marvin's lover and a close friend of Jason.
  • Trina, Marvin's ex-wife, Jason's mother, and Mendel's wife.
  • Mendel, Trina's husband, Jason's step-father, and therapist to Marvin and Trina.
  • Jason, Marvin and Trina's son and Mendel's step-son.
  • Charlotte, A doctor and Cordelia's girlfriend.
  • Cordelia, An aspiring chef and Charlotte's girlfriend.

Characters only in "In Trousers"

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  • Marvin's Sweetheart, Marvin's high school girlfriend.
  • Miss Goldberg, Marvin's high school English teacher and director of the school's play.

Themes

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Judaism

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Finn's Jewish upbringing inspired themes in Falsettos.[39]

Jewish culture and identity play a significant role in Falsettos. It takes place in the "often humorous environment of Jewish neuroses and self-deprecation."[39] Finn gave Judaism a central role in the musical, emphasized by beginning the show with the song "Four Jews in a Room Bitching". The stage version begins with all four male characters dressed in clothing from Biblical times before they remove these robes to reveal modern clothing.[40] In the song, three characters state that they are Jewish, while Whizzer specifies that he is "half-Jewish". The first act, "March of the Falsettos", was originally intended to be titled Four Jews in a Room Bitching until Lapine insisted that Finn change the title.[39] Writers Raymond and Zelda Knapp compared the implications of the AIDS epidemic in Falsettos to the foreshadowing of the Holocaust in the 1964 Jewish musical Fiddler on the Roof, noting that both works suggest the "comparatively innocent" atmosphere before tragedy and the "grim" environment afterward.[41]

Jason's bar mitzvah is a major plot point and accentuates the theme of the male characters maturing and becoming men.[39] Jesse Oxfeld of The Forward described the musical as fundamentally about love and the chosen family people build for themselves, framing that theme, along with its concern for intergenerational duty, as distinctly Jewish even as it also functions as a familiar element of gay storytelling.[42] He also observed that, given the musical's casual treatment of homosexuality, the two lesbian characters stood out chiefly for being gentile rather than gay.[42] The song "The Baseball Game" pokes fun at a stereotypical lack of athletic prowess among American Jews, but Mendel then points out the success of Jewish baseball players Sandy Koufax and Hank Greenberg.[43] Finn, who played Little League baseball as a child, invited Koufax to a performance of Falsettos in Los Angeles, and Koufax was reportedly offended by the joke.[24]

AIDS epidemic

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While Falsettos never explicitly mentions the words HIV or AIDS, the disease plays a major role in the second half of the musical, with lyrics describing an unnamed, deadly illness spreading between men and language suggesting the horror of the disease defies articulation.[43][44] The first half of the musical takes place in 1979, before the start of the epidemic, and the second half takes place in 1981, the year the epidemic began. This historical development results in the first act being primarily a comedy, but the second being mostly a tragedy, so that audiences tend to enter the theater laughing and leave in tears.[24] In 1981, the disease was not understood by the medical community and was eventually called GRID (Gay-related immune deficiency) by The New York Times in a May 11, 1982 article.[45] Lapine has described the AIDS epidemic as a period that has been largely forgotten, saying "we really need to keep that history alive."[46] Of his musical Falsettos, Finn has said that the show struggled to find backers in part because it was so often categorized simply as a show about AIDS.[47]

Finn wanted to convey the tragedy of AIDS accurately in Falsettoland, feeling the reality of the epidemic was too painful to address head-on without either trivializing it or overwhelming the show, so he kept it present without letting it dominate the material.[39] Finn later described Falsettos as offering catharsis both for people who had lived through the AIDS epidemic and for those who had only read about it, hoping the show would help the latter group empathize with survivors.[47] The inclusion of lesbian characters Charlotte and Cordelia is a tribute to the lesbians who assisted gay men during the epidemic.[48] The show also explores heterosexual Trina's perspective on Whizzer's illness in "Holding to the Ground", where she shows solidarity with him despite previously struggling to accept his relationship with Marvin.[48]

The original Broadway company experienced the epidemic directly during the run itself. Chip Zien recalled grief-stricken colleagues and friends comforting one another over the loss of friends and collaborators in the alley behind the John Golden Theatre, and described the cast greeting audience members affected by AIDS or HIV at the stage door on a near-nightly basis, who thanked them for the show; on opening night, Lapine addressed the company and urged them to perform it "for those that we've lost."[49] Heather MacRae later recalled losing a close friend, the songwriter Paul Jabara, during the run; she attended his funeral in the afternoon and performed that same evening, and said the experience "took on new meaning" for her afterward.[50]

The 2016 revival was partly motivated by Lapine's sense that younger LGBTQ audiences, having grown up after major advances in HIV/AIDS treatment and prevention, were often unaware of the epidemic's impact on the artistic community; he wanted the show to give them "a sense of the reality of it."[48] Lapine was inspired to revisit the show after attending a performance of The Normal Heart with a recent college graduate, his assistant, who during intermission admitted she only vaguely understood what AIDS had actually been like.[48] AIDS activist and playwright of The Normal Heart, Larry Kramer, attended a performance of the 2016 Falsettos revival. Andrew Rannells, who portrayed Whizzer, noted that seeing Kramer in the audience while singing "You Gotta Die Sometime" left him "completely wrecked" due to his admiration for Kramer's activism in support of the LGBT community and HIV-positive people.[51] Cast members of the 2016 revival also described a nightly ritual of hearing the audience weep during performances; Stephanie J. Block said the sound of crying "sends chills throughout my entire body because it seems important," while Christian Borle likewise described being visibly moved by the end of nearly every performance.[52]

Masculinity

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Charles Isherwood of The New York Times asserts that definitions of masculinity form "a sharp undercurrent in the show".[53] In the first act, Marvin attempts to force Whizzer into the role of "pretty boy homemaker", which causes Whizzer to step away from the relationship. Though Marvin is now in a same-sex relationship, he still tries to assume the more traditionally masculine role of the provider.[54] Daily Herald writer Jennifer Farrar characterized the arguments between Marvin and Whizzer as "testosterone-laden".[55] The song "March of the Falsettos" is an ode to the immaturity of the male characters, and features the three adult male characters singing in falsetto to match Jason's pre-pubescent voice.[24] In "Trina's Song", Trina complains about the men who rule the world, expressing fondness for the man-children in her life alongside exasperation and resentment at their behavior.[54]

Trina's struggles with the men in her life are also symbolized in "I'm Breaking Down", where she manically chops bananas and carrots for a dish one critic described as an odd but pointedly phallic pairing.[42] By including Jason's bar mitzvah as a key component of the second act, Finn represents the evolution of the male characters in the show, framing Jason's coming-of-age as part of a broader process in which all of the male characters mature.[39] Critics interpreted the set design of the 2016 revival to reflect immaturity by representing the New York City skyline in the form of children's building blocks.[55] The musical additionally explores the link between masculinity and sexuality. Marvin's preteen son Jason questions his sexuality and worries that his father's homosexuality could be genetically passed down to him ("My Father's a Homo").[55]

Critical reception

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In Trousers

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After In Trousers received sharply unfavorable reviews, Finn considered abandoning musical theater and attending medical school. He felt that "if the critic for the Times at that time had been more responsible, it would have been a considerable debut. But as it was, he just said it was junk."[47]

March of the Falsettos

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March of the Falsettos received more positive critical reception than In Trousers. Reviewing its premiere for The New York Times, Frank Rich praised the show's freshness and the way Finn had turned modest, anecdotal material into something both funny and tender.[14] Writing in the Soho News, Don Shewey praised the show as a fast-paced musical in the Sondheim tradition, highlighting its five unstereotyped characters and its refusal to draw simplistic conclusions about marriage or gay relationships, and called it the kind of "pocket musical" Sondheim had once envisioned.[56] Ellen Pall of The New York Times later noted that Finn's "brilliant form combined with the absolute topicality of his social themes first bowled critics over".[57]

Falsettoland

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Reviewing the original production for The New York Times, Frank Rich called it "a musical of jubilance and courage, not defeat," praising its handling of the AIDS crisis through humor, denial, rage, and hope rather than didacticism.[58] He singled out the quartet "Unlikely Lovers" and Stephen Bogardus's performance in "You Gotta Die Sometime" for particular praise, while finding the material involving the show's heterosexual characters comparatively less successful by contrast.[58] Critics have generally found Falsettoland deeper and more emotionally affecting than its predecessor, March of the Falsettos, also singling out "Unlikely Lovers" and "What Would I Do?" for praise.[11]

Recordings

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In Trousers was released as a cast recording on the Original Cast label, documenting the 1979 production. Reviewing it decades later for AllMusic, William Ruhlmann took a notably more favorable view than the show's original critics, calling Finn "the most impressive songwriting talent to emerge in the musical theater in the 1980s" and singling out Chip Zien's performance as Marvin as a highlight, despite judging the recording slight next to Finn's later work.[59] March of the Falsettos was released as a gatefold LP by DRG Records in 1982, packaged with a full printed libretto, and reissued on CD in 1992.[60] Falsettoland was recorded by DRG in 1990.[61] Later that year, DRG paired the March of the Falsettos and Falsettoland recordings together in a two-disc reissue (DRG 22600).[60] Reviewing the combined set for Cast Album Reviews, Seth Christenfeld gave it a full five stars, calling the performances of Michael Rupert, Stephen Bogardus, and Chip Zien as Marvin, Whizzer, and Mendel definitive.[62] The original 1992 Broadway production of the combined Falsettos was not recorded as a complete cast album; for years, the 1992 DRG reissue pairing the two off-Broadway recordings served in its place.[63] A complete cast recording of Falsettos was finally made following the 2016 Broadway revival, released digitally by Ghostlight Records in December 2016 and on a two-disc physical set on January 27, 2017.[64] The revival was also filmed live at the Walter Kerr Theatre on January 3–4, 2017, and broadcast on PBS's Live from Lincoln Center (season 42, episode 2) on October 27, 2017.[65] Reviewing the 2016 cast recording for BroadwayWorld, David Clarke called it historically significant as the first time the full show had been recorded, and praised the cast's performances as faithful to what he had seen onstage.[66] Writing for Gramophone, Edward Seckerson described the score as Finn's masterpiece and found the 2016 cast's performances of the AIDS-era material as fresh and affecting as they had been decades earlier.[67]

Awards

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In Trousers and March of the Falsettos

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In Trousers and March of the Falsettos together won Finn a Guggenheim Fellowship in playwriting in 1984.[68]

Falsettoland

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Year Award Ceremony Award Nominee Result
1991 Lucille Lortel Award Outstanding Musical Won
Drama Desk Award Outstanding Lyrics William Finn Won
Outer Critics Circle Award Outstanding New Off-Broadway Musical Won

Notes

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  1. ↑ The show reopened at Playwrights Horizons' larger downstairs Mainstage Theatre on May 20, 1981, where it continued its run.
  2. ↑ The production transferred to the Lucille Lortel Theatre on September 14, 1990, where it continued its run through January 27, 1991.
  3. ↑ Rupert was succeeded by Scott Waara during the Falsettoland run.
  4. ↑ In In Trousers, this character was not yet named "Trina" and was credited simply as "His Wife"; the name was introduced with the character's expanded role in the 1985 rewrite.
  5. ↑ Zien was succeeded by Lonny Price during the Falsettoland run.

References

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  1. 1 2 Dietz, Dan. Off-Broadway Musicals, 1910–2007. Jefferson, North Carolina: McFarland, 2010, p. 283.
  2. ↑ "March of the Falsettos". Playwrights Horizons. Retrieved July 13, 2026.
  3. 1 2 3 4 5 "Falsettoland (Original Off-Broadway Production, 1990)". Ovrtur.
  4. ↑ "Falsettos". Internet Broadway Database.
  5. 1 2 Bádue, Alexandre (2017). Communicating in Song: The American Sung-Through Musical from In Trousers (1979) to Caroline, or Change (2004) (PhD dissertation). University of Cincinnati. pp. 26–27.
  6. ↑ Stanmeyer, Anastasia (June 26, 2025). "Heart & Music". Berkshire Magazine.
  7. ↑ "Credits for In Trousers (Original Off-Broadway Production, 1979)". Ovrtur.
  8. ↑ Dietz, Dan. Off-Broadway Musicals, 1910–2007. Jefferson, North Carolina: McFarland, 2010, pp. 216–217.
  9. ↑ Rich, Frank (March 27, 1985). "Theater: 'Trousers,' a Musical". The New York Times.
  10. ↑ "Credits & Role Info for "Marvin" for In Trousers (Off-Broadway Revival, 1985)". Ovrtur.
  11. 1 2 3 Colleran, Jim (April 28, 2022). "Falsettos: Three Decades of Love and Heartbreak". Breaking Character. Concord Theatricals.
  12. 1 2 Forevermore, Finley. "Four Jews in a Room Bitching (1980 Playwrights Horizons)". Genius. Retrieved July 5, 2026.
  13. ↑ Lemon, Brendan (September 28, 2016). "Ira Weitzman: Falsettos Past and Present". Lincoln Center Theater Blog.
  14. 1 2 Rich, Frank (April 10, 1981). "Stage: March of Falsettos, A Musical Find". The New York Times.
  15. ↑ "March of the Falsettos (1981), Westside Theatre – Upstairs". Spectra. Spectra Media Collective, in partnership with the Lucille Lortel Theatre. Retrieved July 13, 2026.
  16. ↑ "March of the Falsettos – Los Angeles Production 1982". Retrieved June 10, 2017.
  17. ↑ March of the Falsettos, Albery Theatre programme (Freeshooter Productions Ltd / Wyndham Theatres Ltd, London, 1987); records the first European performance at the Library Theatre, Manchester, on 29 January 1987 and the first Albery performance on 24 March 1987.
  18. ↑ "Falsettos (1987-03-Albery Theatre-London)". musicalsworld.net. Retrieved July 22, 2019.
  19. ↑ Harris, William (June 24, 1990). "Theater; Back to 'Falsettoland' in the Age of AIDS". The New York Times.
  20. ↑ Kuchwara, Michael (September 2, 1990). "Small NY theater group has success with musicals". Napa Valley Register. Associated Press. p. 39 – via California Digital Newspaper Collection.
  21. ↑ "Falsettoland". Lortel Archives. Archived from the original on June 11, 2015.
  22. ↑ Dietz, Dan. Off-Broadway Musicals, 1910–2007. Jefferson, North Carolina: McFarland, 2010, p. 138.
  23. ↑ Marks, Peter (July 17, 1998). "Theater Review; It's Family That Matters, No Matter What Family". The New York Times.
  24. 1 2 3 4 Haun, Harry (October 2, 2016). "William Finn Explains How Falsettos Came to Be". Playbill.
  25. ↑ Dietz, Dan. The Complete Book of 1990s Broadway Musicals. Lanham, Maryland: Rowman & Littlefield Publishers, 2016, p. 86.
  26. ↑ "Falsettos". Internet Broadway Database.
  27. ↑ Hubbard, Kim (June 29, 1992). "Plague-Years Music Man". People. Retrieved May 27, 2020.
  28. ↑ "Falsettos Revival Will Play Broadway's Walter Kerr Theatre". Playbill. February 25, 2016.
  29. ↑ Kelley, Seth (May 2, 2017). "Tony Nominations Announced: Full List of 2017 Nominees". Variety. Retrieved May 27, 2020.
  30. ↑ Gans, Andrew (September 14, 2017). "Broadway's Falsettos Revival Sets Premiere Date on PBS". Playbill.
  31. ↑ "In Trousers (Original Off-Broadway Production, 1979)". Ovrtur.
  32. ↑ "Credits for March of the Falsettos (Original Off-Broadway Production, 1981)". Ovrtur.
  33. ↑ "How Two-Time Tony Nominee Alison Fraser Made a Career of Playing the Villain". Playbill. February 24, 2020.
  34. ↑ Mandy Patinkin IBDB
  35. ↑ Henderson, Kathy (July 5, 2012). "Michael Rupert of 7th Monarch Looks Back on Falsettos, Sweet Charity and More". Broadway.com.
  36. ↑ "Falsettos – Broadway Musical – First National Tour". Internet Broadway Database.
  37. ↑ "Falsettos – Broadway Musical – Second National Tour". Internet Broadway Database.
  38. ↑ "Falsettos – Broadway Musical – Second National Tour". Internet Broadway Database.
  39. 1 2 3 4 5 6 Buchwald, Linda (December 12, 2016). "The Jewish story behind the Broadway hit Falsettos". Times of Israel.
  40. ↑ Sternfeld, Jessica. The Routledge Companion to the Contemporary Musical. Abingdon-on-Thames: Routledge, 2019, p. 312.
  41. ↑ Sternfeld, Jessica. The Routledge Companion to the Contemporary Musical. Abingdon-on-Thames: Routledge, 2019, p. 308.
  42. 1 2 3 Oxfeld, Jesse (October 28, 2016). "Falsettos Isn't As Gay As It Once Was – But It's Still Just as Jewish". The Forward.
  43. 1 2 Bernardo, Melissa Rose (October 27, 2016). "Falsettos: EW stage review". Entertainment Weekly.
  44. ↑ Rich, Frank (April 30, 1992). "Review/Theater: Falsettos; Broadway Boundary Falls Amid Reunions". The New York Times.
  45. ↑ Altman, Lawrence K. (May 11, 1982). "New Homosexual Disorder Worries Health Officials". The New York Times.
  46. ↑ Floyd, Thomas (June 6, 2019). "Falsettos co-creator James Lapine returns to a different time with the AIDS-era musical's revival". The Washington Post.
  47. 1 2 3 Brown, Joe (May 10, 1992). "The Truth About 'Falsettos'". The Washington Post.
  48. 1 2 3 4 Gilchrist, Tracy E. (April 2, 2019). "Falsettos' Story of Love & Family Amid the Onset of AIDS Is Timeless". The Advocate.
  49. ↑ "Ridge Recap: The Original Cast of FALSETTOS Talks Lapine, Finn, and How They Almost Didn't Make It to Broadway". BroadwayWorld. September 30, 2016.
  50. ↑ Gans, Andrew (August 18, 2015). "The Entire Cast of Broadway's Falsettos! Where Are They Now?". Playbill. Retrieved April 15, 2020.
  51. ↑ Gans, Andrew (May 15, 2017). "What Audience Member Left Falsettos Tony Nominee Andrew Rannells 'Completely Wrecked'?". Playbill.
  52. ↑ "Broadway's 'Falsettos' Cast Hears Crying Audiences Each Night". The Hollywood Reporter. October 31, 2016.
  53. ↑ Isherwood, Charles (October 28, 2016). "Review: Falsettos, a Perfect Musical, an Imperfect Family". The New York Times.
  54. 1 2 Rooney, David (October 27, 2016). "Falsettos: Theater Review". The Hollywood Reporter.
  55. 1 2 3 Farrar, Jennifer (October 27, 2016). "Review: Complex family emerges in lively Falsettos". Daily Herald.
  56. ↑ Shewey, Don (April 15, 1981). "Finn's Follies". Soho News. Retrieved July 5, 2026.
  57. ↑ Pall, Ellen (June 14, 1998). "The Long-Running Musical of William Finn's Life". The New York Times.
  58. 1 2 Rich, Frank (September 17, 1990). "Review/Theater; 'Falsettoland,' a William Finn Sequel, Reopens". The New York Times.
  59. ↑ Ruhlmann, William. "In Trousers [Original Cast Recording] Review". AllMusic. Retrieved March 16, 2025.
  60. 1 2 "March of the Falsettos – 1981 Original Off-Broadway Cast". CastAlbums.org.
  61. ↑ "Falsettoland – 1990 Original Off-Broadway Cast". CastAlbums.org.
  62. ↑ Christenfeld, Seth. "Falsettos (March of the Falsettos/Falsettoland)". Cast Album Reviews.
  63. ↑ Hoffman, Warren (December 23, 2016). "Falsettos – 2016 Broadway Cast". CastAlbums.org.
  64. ↑ "Cast Recording of Falsettos Revival Now Available on iTunes". Playbill.
  65. ↑ "Live From Lincoln Center: Falsettos". PBS.
  66. ↑ Clarke, David (December 16, 2016). "BWW Album Review: Falsettos (2016 Broadway Cast Recording) is Brilliant and Beautiful". BroadwayWorld.
  67. ↑ Seckerson, Edward (April 24, 2018). "Gramophone Review: Falsettos – 2016 Broadway Cast Recording/Finn". edwardseckerson.biz.
  68. ↑ Stasio, Marilyn (December 24, 1989). "A New Musical Finds Comedy And Romance in Hard Times". The New York Times.
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