With the recently-confirmed Lincoln Center revival of Falsettos set to bow at the Walter Kerr Theatre this October, and with original director and librettist James Lapine (once again) at the helm of this William Finn masterpiece, it is interesting to look at how the world has changed in the 23 years since its original Broadway production. Is Falsettos as relevant today as it was back in the early 1990s? This story of a gay man named Marvin who leaves his wife and son for a male lover, and then loses him to a spectral illness that is presumably AIDS, was cutting edge and timely musical theatre for 1992, but does that translate for contemporary American audiences where gay marriage is now arguably a societal norm and AIDS, despite its continued threat, has somehow become a marginalized disease that doesn’t inspire quite the same fear? The answer is an astounding yes, but for very different reasons than in 1992.