Keith Gow, Writer

“The youth don’t understand you can’t mess with form and content at the same time.”
Isaac has been in the army; the weight of the war is still in his body, causing him to stoop, to not look people in the eye, to vomit. He’s returned home, hoping to be embraced by his parents and his sister. But his family has changed; this comfortable home is now a mess of clothes on the floor and dirty dishes, empty cupboards and piled up furniture.
This is not the reunion Isaac was looking for.
Father Arnold has had a stroke and mother Paige is feeding him a cocktail of pills to keep him docile. He’s on estrogen and made-up like a clown. Max, who was once Maxine, now identifies as transgender and insists on the pronouns of “ze” and “hir”.
The “hir” and “here” homophone is key to Paige’s many rants throughout the play; with all this brand-new information at her fingertips, she’s ready to change the world. And she’s starting with upending the patriarchal structure of the family home.
Taylor Mac is a p…

It’s 1979 and Marvin has left his wife Trina for a man named Whizzer. Marvin is trying to maintain a tight-knit family, somehow hoping to keep his wife and his son and his lover happy. His psychiatrist, Mendel, seems to be helping, until he falls in love with Trina.
William Finn’s Falsettos is somewhat of a cult musical; though it has been on Broadway twice, both runs were quite short. Finn is probably best known for The 25th Annual Putnam County Spelling Bee and his most recent Broadway musical was an adaptation of Little Miss Sunshine.
Falsettos is, in fact, a combination of two shows that originated off-Broadway at either end of the 1980s, March of the Falsettos and Falsettoland. March feels like Stephen Sondheim’s Company, a kaleidoscope of songs from people who know the slightly-unlikable main character. Falsettoland has a more traditional story arc and while as a second act, it’s only set two years later in 1981, the world had changed dramatically for gay men when it was first p…