March of the Falsettos" is the title song of this act of the show. William Finn planned on calling the show "The Pettiness of Misogyny", but then he decided to go with a less direct and more subtle title, calling it "March of the Falsettos". But what does the title mean? The central theme of the show is the characters lack of maturity (as they also state themselves in this song) and their journey of growing out of their childish behavior. Something that for instance Marvin needs to do to be the father Jason needs. Jason, whose voice hasn't yet changed, sings an octave higher than the other three men throughout the show. This is the only song, that all four men sing in the same register, since Marvin, Medel and Whizzer sing in the falsetto, losing the symbol of manhood - their changed voices. None of these men have grown up yet. All of them are still very self-centered, self-involved and insist on getting whatever they want. The "March of the Falsettos" is their journey from childhood to becoming adults.

"A seamless pairing of March of the Falsettos and Falsettoland, acclaimed off Broadway musicals written nearly a decade apart. It is the jaunty tale of Marvin who leaves his wife and young son to live with another man. His ex wife marries his psychiatrist, and Marvin ends up alone. Two years later, Marvin is reunited with his lover on the eve of his son's bar mitzvah, just as AIDS is beginning its insidious spread"--Publisher

"an energetic, sardonic, often comical musical about a composer during a medical emergency. Gordon collapses into his lunch and awakes in the hospital, surrounded by his maritime-enthusiast lover, his mother, a co-worker, the doctor, and the nurses. Reluctantly, he had been composing a song for a children’s television show that features a frog – Mr. Bungee – and the specter of this large green character and the unfinished work haunts him throughout his medical ordeal. What was thought to be a tumor turns out to be something more operable, and Gordon recovers, grateful for a chance to compose the songs he yearns to produce."--Publisher.

From the star of Broadway's The Book of Mormon and HBO's Girls, the heartfelt and hilarious coming-of-age memoir of a Midwestern boy surviving bad auditions, bad relationships, and some really bad highlights as he chases his dreams in New York City With a new afterword • “Candid, funny, crisp . . . honest and tender about lessons of the heart.”—Vogue When Andrew Rannells left Nebraska for New York City in 1997, he, like many young hopefuls, saw the city as a chance to break free. To start over. To transform the fiercely ambitious but sexually confused teenager he saw in the mirror into the Broadway leading man of his dreams. In Too Much Is Not Enough, Rannells takes us on the journey of a twentysomething hungry to experience everything New York has to offer: new friends, wild nights, great art, standing ovations. At the heart of his hunger lies a powerful drive to reconcile the boy he was when he left Omaha with the man he desperately wants to be. As Rannells fumbles his way towards the Great White Way, he also shares the drama of failed auditions and behind-the-curtain romances, the heartbreak of losing his father at the height of his struggle, and the exhilaration of making his Broadway debut in Hairspray at the age of twenty-six. Along the way, he learns that you never really leave your past—or your family—behind; that the most painful, and perversely motivating, jobs are the ones you almost get; and that sometimes the most memorable nights with friends are marked not by the trendy club you danced at but by the recap over diner food afterward. Honest and hilarious, Too Much Is Not Enough is an unforgettable look at love, loss, and the powerful forces that determine who we become.

(Applause Libretto Library). This 1995 Pulitzer Prize-winning musical was inspired by the painting A Sunday Afternoon on the Island of La Grande Jatte by Georges Seurat. A complex work revolving around a fictionalized Seurat immersed in single-minded concentration while painting the masterpiece, the production has evolved into a meditation on art, emotional connection, and community. This publication contains the entire script of the musical. " Sunday is itself a modernist creation, perhaps the first truly modernist work of musical theatre that Broadway has produced ... a watershed event that demands nothing less than a retrospective, even revisionist, look at the development of the serious Broadway musical." Frank Rich, The New York Times Magazine