Falsettos gives false impressions

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Falsettos gives false impressions

Finn, William

Staff, Charles

Neighbors, David

Walker, John

3/19/85

AmusementsTHE NEWSTUESDAY, MARCH 19, 1985 — PAGE 26'Falsettos gives false impressionsBy CHARLES STAFFThe Indianapolis NewsOn first exposure, there seems tobe less in "March of the Falsettos"than meets the ear.Virtually an opera, the one-actshow at the Phoenix Theater iscertainly challenging enough for theparticipants but when the hour hasended, one wonders what all thework was about.Using a pop-song style, WilliamFinn evidently intended to saysomething about relationships but,despite its contemporary "chic," hislibretto is anything but profound.Though occasionally catchy, evenclever and inventive, his musicdoesn't seem to have much profileeither.The opening number, for instance, "Four Jews in a RoomBitching," is undboutedly meant tobe funny but isn't, nor is the opera-within-the opera, "Marvin at thePsychiatrist," or "My Father's aHomo." But the title song, sung infalsetto by the four male characters,is amusing and the close, "Father toSon" has a dreamy, touching qual-tiy.The story centers around ayoung married man's attempt to"have it all," a close-knit familyconsisting of wife, son and himself,and a male lover. He ends up withnothing.Perhaps the subject is betterspoken about than sung. Philosophies of life and music sit uncomfortably together. Music expands onemotional states but slows downand even obscures explanations, intricate arguments and the expression of ideas.To draw a parallel that requiressome mental stretching, Hinde-mith's two finest operas, "Cardillac"and "Mathis der Maler," suffer fromthat composer's tendency to expound verbally.However, director David Neighbors obviously believes in "March ofthe Falsettos" and so does his remarkable cast.Stage movement is neatly balanced between the audience's needfor movement and the performersneed to stand still so they canconcentrate on singing. And all ofthem, Ron Hellems, Vonda Fuhr-mann, Michael Shelton, Lee Scottenand Kurt Owens, can not only singrespectably well but also act.Hellems plays Marvin, the lead,with Miss Fuhrmann as Trina, hiswife; Scotten as his lover, Whizzer;young Shelton as his son, Jason,and Owens as a psychiatrist, Mendel, who marries Trina after thedivorce.Head of the Carmel High Schoolperforming arts department, Hellems is a class act, a particularlyappropriate combination of conservative appearance, musicianship,charm and a singing style that fits.While Miss Fuhrmann and Owens stray from pitch now and thenboth are effective and Shelton, anexperienced boy from the creditslisted in the program, doesn't always hit square on either, but hisaccomplishment, considering thescore's musical difficulties, is remarkable.But Scotten takes the wholething in a walk. It isn't just thevoice, so well trained, rich and projected that it seems wasted on suchtrivia, or his ability to move andavoid eye contact with patrons inthe small room. Energy fairlybeams from him like lights.The setting by John Walker is achess board with a stationary"king's row" and pawns, actuallypainted boxes, in back, all symbolic,no doubt, but, more to the point,simple and spare.Stage left, behind a scrim, JerryRoss, keyboard, Paul Manfredi,bassist, Zac Kreuz, percussion, andJames Briscoe, winds, provide theaccompaniment with a good deal ofvigor — though Briscoe and hisflute seemed to be experiencing difficulties at a recent matinee.The production, an Indianapolispremiere, continues at the Pheonixthrough April 6.

Phoenix Theatre (Indianapolis, Ind.)

Theatrical productions -- Indiana -- Indianapolis

Theater -- Reviews

Indiana Memory

English

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