Falsettos ** C+

When Lincoln Center Theater announced that it was reviving William Finn’s Tony-awarded musical (best book and best score), I wasn’t sure I wanted to see it again. After seeing its two halves off-Broadway when they were presented as “March of the Falsettos” in 1981 and “Falsettoland” in 1990, as well as the Broadway version of 1992, I thought perhaps it would be better to keep my fond memories and skip it this time around. Michael Rupert, Stephen Bogardus and Chip Zien were so ingrained in my memory as Marvin, Whizzer and Mendel that I could not imagine anyone else in these roles. When Christian Borle and Andrew Rannells were announced as Marvin and Whizzer, I was even more uncertain. While Borle is extremely talented, he is not my vision of a gay neurotic Jewish New Yorker; nor is Rannells my idea of a hunk. I was disappointed that James Lapine was once again directing, because I thought a new director might give it an interesting new spin. Curiosity got the better of me and I bought a ticket. As the play opens, Marvin has divorced his wife Trina and moved in with his lover Whizzer. Marvin and Trina’s young son Jason (an excellent Anthony Rosenthal) is acting out. Marvin’s shrink Mendel takes a fancy to Trina. As luck would have it, both Stephanie J. Block and Brandon Uranowitz were out the night I attended so I saw their understudies Courtney Balan and Tally Sessions as Trina and Mendel; fortunately they were both very good. After intermission we meet the lesbians who live next door, Dr. Charlotte (Tracie Thoms) and Cordelia (Betsy Wolfe). During the first act, I was fighting the disparity between the concept of the two male leads in my head and the versions embodied by Borle and Rannells. They eventually won me over. After intermission, the book becomes more involving and even the songs get better. While the plot may be manipulative, I defy anyone to keep a dry eye at the end. Jennifer Caprio’s costumes are fine. David Rockwell’s set is a puzzler. While I liked the Manhattan skyline backdrop that had several permutations, I thought that the large grey cube that dominated the set and was disassembled as needed to form various props looked cheap. For those who haven’t seen the show before, I would definitely recommend it as a time capsule of New York life in 1979 and 1981. Running time: 2 hours 45 minutes including intermission.

Lost Lake ***

In the 13 years since winning the Pulitzer and a Tony for Proof, playwright David Auburn’s work has rarely been seen in New York. His 2011 adaptation of The New York Idea was rather flat and his 2012 bipolay about Joseph Alsop, The Columnist, did not have much to offer beyond a juicy role for John Lithgow. Now he is back at Manhattan Theatre Club with this two-character play about Veronica (Tracie Thoms), an African-American nurse from New York City who rents a summer home in Putnam County for a week and Hogan (John Hawkes), the man she rents it from. The widowed Veronica is a hard-working nurse who just wants to offer her two children a week in the country. Hogan, a free spirit who could all too easily be dismissed as one of life’s losers, is a man unable to deliver on his good intentions. The landlord-tenant relationship that throws them together develops into something different as they confide in each other and eventually reach out to help each other. It is a pleasure to see award-winning indie film actor Hawkes on stage. Thoms, whose previous work I was not familiar with, holds her own performing with him. Auburn has written two characters that are both vivid and compassionate. The ending may not bring us to a happy place, but the journey is worthwhile. Daniel Sullivan’s direction is skillful. J. Michael Griggs’s set is appropriately both rustic and a bit seedy. Jess Goldstein’s costumes are apt. Running time: 1 hour, 35 minutes; no intermission.