The National Tour Company of Fun Home (Joan Marcus)
Alison Bechdel’s early life story—that of a lesbian cartoonist whose closeted gay dad committed suicide—doesn’t sound on its face like a universal, familiar tale. Yet Fun Home connects deeply with its audience: the emotions it evokes (if not its specific circumstances), are relatable and raw.
The musical, now playing at The National Theatre, is based on the work that buoyed Bechdel’s career from niche web comic artist to celebrated graphic novelist (if her name sounds familiar, but the title doesn’t, it may be from the “Bechdel Test” a question adapted from her comic that looks at female representation in film).
Fun Home is an unlikely but inspired choice for a musical theater adaptation.
The title refers to the sarcastic name that Bechdel’s father gave to the family funeral home (a children’s ensemble number plays around with the name, and the results are comedic gold). The story chronicles the events of Bechdel’s early life from childhood up until the tragic circumstances of the death of her father (Robert Petkoff, offering a portrait that’s more unsettling than multi-dimensional).
Three Alisons, all representing different stages of Bechdel’s life, circle the stage. There’s the child who refuses to wear dresses and asks her parents uncomfortable questions (Alessandra Baldacchino). There’s the unassuming college student (Abby Corrigan), just discovering her sexuality and throwing herself into a new, more open life. And there’s the 40-something writer (Kate Shindle) looking back at it all and struggling to make sense of her father’s demons, and whether she holds any responsibility for his horrifying choice.
The music and lyrics by Jeanine Tesori and Lisa Kron help turn this unusual story into something that resonates with everyone. The sum of one woman’s painful life (a stalwart Susan Moniz as Bechdel’s mom) is given clarity in “Days and Days.” Corrigan shines in a tender, unassuming rendition of “Changing My Major,” a comic and sweet ode to first love. And there’s the jubilant “Ring of Keys,” brilliantly capturing a memory illustrated in the graphic novel when young Alison sees an “old school butch” lesbian woman in a diner, and knows there’s something familiar, and worth celebrating, about her.
As a touring production following Fun Home‘s acclaimed Broadway run, the show has had to make some sacrifices. This traditional staging feels more claustrophobic than the intimate theater-in-the-round set-up of the original, and buzzy sound feedback plagued opening night, distracting from dialogue and vocals. This aside, Fun Home will haunt anyone who has played scenes from their youth over and over in their heads, trying to find meaning and move forward.
Fun Home runs through May 13 at the National Theatre. $48-$98. Buy tickets here.
