Falsettos, with its highly original style of musical storytelling, conversational and idiosyncratic (and at times, lyrical and deeply moving), groundbreakingly offered a frank and realistic portrayal of AIDS and modern gay life. In Act One, an immature and narcissistic Marvin comes out of the closet to begin a relationship with another man. He acts with little regard for his wife and son's feelings, expecting them to immediately acclimate to his new life. He even goes so far as to actually hit his (now ex) wife when she invites him to her second wedding. In Act Two, Marvin's lover becomes an early victim of AIDS in the midst of preparations for Marvin's son's Bar Mitzvah. In dealing with the turmoil, Marvin grows up and learns to love and be loved. We understand Marvin's struggle, the grandiosity and the self-loathing — he was born before gay liberation, and he had no list of LGBT characters to light the way. Sometimes the most powerful activism is within oneself.
Holed up in a seedy motel on the edge of the Mojave Desert, two former lovers unpack the deep secrets and dark desires of their tangled relationship, passionately tearing each other apart. Led by director Daniel Aukin (Back Back Back at MTC, 4,000 Miles), Tony winner Nina Arianda (Venus in Fur at MTC, Born Yesterday) and Sam Rockwell (A Behanding in Spokane, The Way Way Back) bring an explosive intensity to Sam Shepard’s (Buried Child, True West) landmark myth of the new Wild West.