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Live from Lincoln Center: Andrew Rannells in Concert (2018)
To say Andrew Rannells' Tastes are Eclectic Would be Reductive
While I don't usually seek out single-performer "special" concerts, this little gem is worth your time for several reasons. The band is excellent, the backup singers know their stuff and how to make a solo artist shine, the musical director knows how to make his performer shine, and Andrew Rannells is just plain fun in addition to being a terrific singer and actor. From the very first number (Andrew Golds' "Lonely Boy"), you know you've going to have fun. And it's not all going to be Broadway and American standards, although for a one-hour set, it is jam-packed with Broadways, pop and a little rock and roll. There's Bruce Springsteen, Peter Gabriel, k.d. lang, George Michael, William Finn, Jacques Brel, and more. Included is a beautiful ballad written by the night's musical director Todd Almond, Moon Over Nebraska. And a sly wink to Vicki Carr with "It Must Be Him" reminds us that little Andy Rannells was a gay kid from the midwest who found his footing and is hitting his stride.
Throughout the set, you get a taste of Andrew Rannells' acting chops, and although he doesn't have a great deal of banter, his song performances are singular and exciting from beginning to end. I watch it from time to time when I'm flipping through shows on the streaming services, and each time I'm reminded of how good this little concert was -- every single number. Andrew Rannells starts the show saying he hopes that the audience will enjoy it, but even if they don't, it's only an hour. I could have done with two or three hours. Here's hoping he does some more of these before he gets too busy with acting.
Live from Lincoln Center: Falsettos (2017)
Dream Cast and Stand-Out Performances By Every Single One
It isn't often you see a Broadway show that has multiple set changes that aren't performed by stagehands, but Falsettos is a well-oiled machine where the actors are actually re-arranging the set often and usually while one or more of the cast are singing a great song (sometimes the set is being re-arranged while ALL of the actors are singing). And the songs just keep coming from beginning to end, and this is NOT a concert, but a well-rounded, well-acted, impactful performance of a period musical from the not-too-distant past.
Without giving too much away, it's a boy-meets-boy and leaves his wife and kid to live with his friend. Except there are many, many complications, and despite there being only 8 characters total in the entire piece (one character is a quick appearance by Betsy Wolfe doing double-duty as Dr. Mendel's patient as well as Cordelia, Dr. Charlotte's lover), there is a lot to unpack in this brilliantly-written show. This will come as no surprise to anyone familiar with William Finn and James Lapine (who also directed Falsettos for the stage), as Bill Finn has a talent for writing very specific characters who need little exposition to give you the full flavor, and he usually does this through the characters' clever and beautiful songs.
Speaking of singing, this cast has some of the finest voices currently on Broadway (or they would be if it weren't for the pandemic): Tony-winning performers Christian Borle and Stephanie J. Block play Jason's mom and dad, Marvin and Trina, while Andrew Rannells is Marvin's lover, Whizzer.
Despite having watched it multiple times over the course of a few days, every viewing of Falsettos exposes multiple details of subtle technique by all of the actors, but especially the leads. This ensemble will impress you on many levels, but their emotional investment in their characters is palpable in every moment they are on stage. I've never laughed and cried so much at any show, much less a live-recorded musical performance.
Even if you're one of those "I don't like musicals" people, give it a try. If nothing else, you'll get to hear some poignant lyrics and very clever banter.
Transparent: Transparent Musicale Finale (2019)
If you understood the point of the series, you will have loved this finale (musicale and all)!
I'll admit that, at the outset, I wasn't sure about this final episode as we had characters breaking into song a la Broadway. But my God, it was clever, and the songs all had profound points to be made, and some of them had me crying at all the right parts, and laughing at others. It was a joyful, touching send-off to a series that died at its own hand, in glorious, multi-colored flames (just like Maura). We and they are all in on that joke.
The loose ends were tied up very nicely without actually sending anyone off into a sunset (except Maura).
I had to laugh at the hateful reviews that would indicate that those reviewers obviously never even understood what Jill Soloway's story was about; they just saw it as a quirky little drama with interesting, quirky characters. And you know they already had a bias against musicals, so you can't trust their judgment on that point alone. They hated the songs? I immediately watched it over again so I could enjoy the songs a second time! This final episode reflected the wondrous absurdity of family and life and love and connection that had been told through four seasons of 30 minute episodes and now completed with this joyous long-form musicale finale. If you thought you hated it, watch it again. I dare you.
To put a finer point on it: you can't go home; you're already there.