Keegan Theatre’s revival of William Finn’s multiple Tony Award—winning Falsettos leaves no doubt about why the show is among the most beloved musicals of recent decades. Its combination of cleverness, complexity, and heart makes it irresistible.
Its complexity exists on more than one level. Much of Finn’s score involves rapid-fire musical patter interchanges among the characters. The music is vocally demanding, and the timing needs to be perfect among the actors, who never miss a beat. The movement — director Kurt Boehm doubled as choreographer — is just as active and just as precise, giving the production unstinting energy. The Marvin/Whizzer racquetball game in the second act is a particularly nice set piece, and the many ensemble numbers are as expertly executed in terms of blocking and choreography as they are musically.
The show’s center is its emotional complexity. As Trina (Katie McManus) comments at one point, attending her son’s Little League game with her ex-husband and his ex-lover was not something she would have imagined. McManus is a standout in Keegan’s top-notch cast, with her spectacular “I’m Breaking Down” bringing down the house in the first act. She expresses the difficulty of “holding the ground when the ground keeps shifting” in an equally compelling second-act song. I trust the Helen Hayes judges will be watching.
The technical side of the production is as complex as the material itself. Matthew J. Keenan designed a versatile multilevel set. Boehm takes full advantage of the space, and the scene changes are smooth, never detracting from the show’s pace. The lighting design (Lynn Joslin) is varied and as precise as the show’s other elements, with cues often tied to specific lines or actions. The tiny band, led by Elisa Rosman, handled well both the fast-paced and lyrical portions of Finn’s score.
Keegan’s Falsettos is fun and sad. For one who lived through the height of the AIDS epidemic, losing some friends in the process, the second act strongly evoked the feelings of that time — the fear and grief and anger and the tenderness of those caring for loved ones. This production comes at a time when other challenges call for people to come together and care for one another. It was a fine kickoff for DC-area theaters’ observance of WorldPride.
