Brisbane review - Fun Home: honest, wholly original musical

By David Wilson

Fun Home

Book and Lyrics by Lisa Kron

Music by Jeanine Tesori

Based on the graphic novel by Alison Bechdel

Direction by Sherryl-Lee Secomb

Musical Direction by Benjamin Richards

Choreography by Grace Clarke

Produced by PIP Theatre https://piptheatre.org/funhome/

At PIP Theatre Milton until 14 September 2024

Tickets are $60 adult, $50 concession available at https://piptheatre.sales.ticketsearch.com/sales/salesevent/116542

Based on the original 2006 graphic novel by Alison Bechdel, with book and lyrics by Lisa Kron, Fun Home is a clever, socially relevant, thought provoking and emotional musical, with the original Broadway production in 2015 being nominated for 12 Tony Awards, winning 5 including best musical.

When her father dies unexpectedly, Alison dives deep into her past to revisit the story of her relationship with the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life.

Moving between past and present in a series of non-linear vignettes, Alison relives her unique childhood playing at the family’s Bechdel Funeral Home (Fun Home), her growing understanding of her own sexuality, and the looming, unanswerable questions about her closeted gay father and his hidden desires. Fun Home is a refreshingly honest, wholly original musical about relationships, family dynamics, identity and the journey to self-discovery.

The creative team at PIP Theatre has done a magnificent job of bringing this excellent work to life, delivering a very high quality production indeed. The confident direction of Sherryl-Lee Secomb was evident throughout the performance - everything from the excellent casting to the staging, costuming and deliberate use of the intimate performance area was on point, laying the perfect platform for the performers to shine - and shine they did! The quality orchestra (the Fun Home Band) under the musical direction of Benjamin Richards was also wonderfully in synch with the happenings on stage, with the performance using both time and timing very well. Pleasingly the sound and lighting worked exactly as they should. Overall, this is a very tight production.

The entire 9 person cast was excellent on opening night. There were no apparent nerves or stumbles, and the heavy commitment to rehearsals and preparation was obvious for all to see, not just from their assured performance, but also from the impeccable timing required of a performance that occurs across three time periods, sometimes at the same moment.

Adam Bartlett was fabulous as Bruce Bechdel, the longtime married English teacher, renovator, quasi-historian, funeral director and closeted gay father to Alison and her brothers. Bartlett’s gravitas and vocals were first rate, as was his nuanced portrayal of this complex character. His vocals were excellent throughout, particularly in the powerful “Edges of The World”. His emotional performance was enhanced by his great use of physicality.

The character of Alison Bechdel was played by three performers across three distinct time periods - “Young Alison” played by Theo Hunt, “College Alison” played by Micheal Enright and current Alison played by Aurelie Roque. The casting of the three Alison’s was perfect.

Roque as current Alison was fantastic in what is a deceptively challenging role. While current Alison represents ‘today’, the character is present throughout the entire performance, undertaking somewhat of a narrator type role in parts which bridges the time periods, observing her younger father and younger self throughout. This not only requires a great emotional range, but also requires the performer to be “on” for the entire duration of the show, something that Roque did brilliantly. Her vocals were outstanding throughout, with her performance of “Telephone Wire” particularly moving. The synchronisation between the three Alison’s was extremely well done, due in equal measure to the wonderful performers and quality direction.

Enright as College Alison was wonderful. Their stage presence is undeniable, and their characterisation of Alison’s awakening was something to behold. One of Enright’s many strengths is their perfect timing when working alongside others, when even the most dialogue heavy and fast paced interactions appear natural and in no way forced. Their vocals were a feature, particularly in “Changing My Major” which also showcased their gift for the comedic.

Hunt was superb as Young Alison, comfortably establishing the foundational relationship between Young Alison and her father that is the centrepiece of the entire musical. Hunt’s interactions with the character’s brothers were very well done, as was their wonderful performance of “Ring of Keys” which not only showcased their vocal excellence, but also excellent emotional depth in capturing the beginning of Alison’s sexual self-awareness. A wonderful performance.

While each of the Alison’s was individually excellent, it was when they interacted that the full power of the performance was realised. Whether it was Alison reading Young Alisons diary notes over the shoulder or cringing at College Alison’s first romantic encounter, the on stage connection between the three was magnificent, most obvious during their outstanding performance of “Flying Away”. Fabulous.

Deirdre Grace as Helen Bechdel expertly reflected the toll of being married to Bruce. Her performance powerfully conveyed the character’s journey into physical and emotional exhaustion, highlighted by her wonderful and moving performance of “Days and Days”.

Emma Erdis was great as Joan, College Alison’s fist sexual encounter, as was Daniel Kirby who played the object of Bruce’s many advances. Erdis’ characterisation was very strong, and their timing was excellent when interacting with College Alison and Bruce, while Kirby showed great range and energy across a number of characters.

Fraser Goodreid and Jaden Armitage were both wonderful as John and Christian Bechdel, Alison’s two younger brothers. Both very talented and confident young performers, they were excellent alongside the impressive Hunt in “Come To The Fun Home” which was an audience favourite.

It is wonderful that PIP Theatre has brought Fun Home to Brisbane. They are presenting socially relevant and quality work, through a confident creative team and a talented cast of established and emerging professionals.

I encourage you to see this very high quality production of a mature, meaningful and moving musical.