This is where we take a stand
Contact Theatre’s Falsettos delivers with a strong cast
By Mai DaSilva
March 13, 2026
As we approach the 10-year anniversary of the Tony-nominated Broadway revival of James Lapine and the late great William Finn’s Falsettos, Contact Theatre took on the task of bringing this production to Montreal. Directed by Debora Friedmann and produced by Ally Brumer, Contact Theatre works hard year after year to champion the Montreal musical theatre scene, and this year was different, having the Segal Centre on their side. This beautiful story looks into an unconventional family as we see it break down and come back together. At the brink of the 1980s, this unapologetically Jewish and queer story looks at what makes a family – to build a home together, even in the midst of crisis and drama.
The complicated score was tackled by musical director Giancarlo Scalia and the powerful cast of seven, featuring some of Montreal musical theatre’s best and some bright new faces. Throughout this small but mighty cast, there was not a single faulting moment. The stage is graced by familiar faces from last year’s production of Cabaret, such as Daniel Wilkenfeld, Jonathan Vanderzon and Joel Bernstein, whose talents dominate the male leads of Falsettos.
This beautiful story looks into an unconventional family as we see it break down and come back together. At the brink of the 1980s, this unapologetically Jewish and queer story looks at what makes a family – to build a home together, even in the midst of crisis and drama.
The veterans are joined by Contact newcomers: Amanda Caron, best known for her involvement in the Hudson and the West Island Theatre Scene; Lily Lachapelle, a performer and puppeteer; and Emma Yee, an opera singer studying for her Master’s of Opera Performance at McGill. Additionally, joining the cast of Falsettos is Contact Theatre’s youngest performer yet, Lucas Crelinsten, a teenage boy who perfectly captures Jason’s voice and essence.
I truly only have kind words for this superb seven. In particular, Amanda Caron as Trina is a generational performance, reaching audiences’ hearts with her showstopping voice. A major standout moment of Act 2 is Holding to the Ground, a reflective moment in which the character struggles to keep herself in pieces as her family crumbles around her. Caron’s performance was touching and introspective, leaving audiences with the lingering feelings of false hope and impending doom.
Joel Bernstein’s portrayal of the overzealous and devoted Mendel was something that felt so natural and grounded, as if it was written in the stars for him to get this opportunity. Everyone Hates His Parents, a number shared mostly between him and Lucas Crelinsten as Jason, ranks among my top comedic moments in the show; a fun dynamic paired with great vocals.
Daniel Wilkenfeld and Jonathan Vanderzon, who faced the challenge of portraying the chaotic lovers Marvin and Whizzer, brought the bittersweetly bickering couple to life in a way that truly guides the audience through Marvin’s emotional journey. Vanderzon brought the charismatic Whizzer to the spotlight with his incredibly complex character choices. The two, when paired with “The Lesbians From Next Door,” AKA Dr. Charlotte and Cordelia, portrayed by Lily Lachapelle and Emma Yee, respectively, paved the way for one of the most devastatingly beautiful numbers in the musical (and my personal favourite), Unlikely Lovers.
While the cast already shines enough in their individual moments, it’s as if witnessing a supernova when brought together in full-company moments, such as the rambunctious fun of The Baseball Game and the complex, overlapping vocals in Days Like This.
‘I do wholeheartedly believe Contact Theatre continues to produce some of Montreal’s top musical theatre. The productions feel profound, with incredibly strong performances paired with designs that help the characters feel real.’
With Falsettos being the inaugural production for the Segal Centre’s new Stage Forward Fund, as well as with Contact Theatre’s usual standard of Montreal musical theatre, the expectations for Falsettos were high. While the overall production and talent were undeniably strong, I would say that one realm in which Falsettos faltered was the “immersive atmosphere” one would usually find in the performance venue of a Contact Theatre production. With this being my fourth year as a consistent viewer of Contact Theatre’s work, one of their greatest strengths, year after year, is the overall atmosphere of the productions, consistently creating this boundless escape from reality for the duration of the evening. I felt this atmosphere was lacking, which is unusual for Contact Theatre’s work. For a production company whose previous work was uniquely curated for its audience, it feels as though this production’s priorities strayed from that approach.
With that being said, I do wholeheartedly believe Contact Theatre continues to produce some of Montreal’s top musical theatre. The productions feel profound, with incredibly strong performances paired with designs that help the characters feel real. I especially aim to mention the costumes, designed by Leah Toledano, who was recently awarded Broadway World Montreal’s Best Costume Design for her work in Starcatcher Productions’ Little Women. Whizzer’s tearaway shirt during The Thrill of First Love garnered a gasp at my showing, having seamlessly ripped the shirt off without notice. I particularly loved Trina’s whimsical top of Act 2 outfit, at the break of the 1980s, with teal pants and a patterned blouse, and Whizzer’s famous patchwork pants, handmade by Toledano.
Contact Theatre continues to pave the way for local musical theatre. Falsettos ends its sold-out run this Sunday, March 15, closing its season and filling our hearts with unashamedly Jewish and powerfully queer stories.
Images: Matt Sandoval, @sandoval_snaps
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Mai DaSilva is an up-and-coming multidisciplinary artist based outside Montreal. She has performed in various plays and independently produced several of her scripts. Currently a theatre student at John Abbott College, Mai is ecstatic to delve deeper into the world of Montreal theatre.
