Fun Home

There are musicals that are simply fun, an escape from the world. Then there are those that immerse you so deeply in the world, and what it means to be human, that connect on such a deep level, that your life is somehow changed by an evening’s entertainment. Fun Home sits clearly at the top of the latter group – along with such shows as Next to Normal and Dear Evan Hansen. When you give such shows a production that realizes every nuance, every laugh, every heartbreaking poignant moment; and does it such style and love, the result is a theatrical triumph. PIP’s production of Fun Home is one such triumph.

The story of a Lesbian cartoonist’s complex relationship with her closeted gay father whose life ends tragically, is not always an easy watch. It is impossible not to become connected, part of their lives, and at times it is emotionally overwhelming. But boy, it is worth the pain and ultimately joyous and uplifting. The show is structured as a series of vignettes…memories drawn from Alison’s mind and punctuated with songs.

Director Sheryl-Lee Secomb never puts a foot wrong in realizing the narrative of Alison’s (actually three Alisons at various times in her life) complex relationship with her father.

The decision to bank the audience on three sides of the action ( with the 7 piece band behind a scrim upstage, gives a sense of actually being IN the Fun Home – the Bechdel house and funeral parlour, is a masterful one that worked brilliantly. But it also means that the blocking has to be doubly masterful in order to accomodate three sides of sight lines.  Secomb achieves this by using a lot of triangles for her positioning …with the oldest present day Alison upstage viewing her own memories.  It’s compelling storytelling that draws us in, even though the main character stands outside of the journey below. That simply adds to the nuance and depth. But it isn’t just the blocking:- the work on character has drawn superb performances from the entire cast. One can sense in every moment that this is a labour of love for all concerned.

I’ve watched Adam Bartlett’s work over a number of years. Always solid, and with a magnificent lyrical tenor voice, as Bruce Bechdel, the father, this is surely his finest performance to date. One can almost feel the physical pain of a man forced to deny his true self and live a lie for the sake of society and his children. The bursts of anger are palpable, the bombastic ego of the man is annoying and endearing at the same time. With the actors being within touching distance one can almost reach out and brush the tears forming in his eyes in certain scenes. He plays truth without pretense. It’s a marvelous performance.

Aurelie Roque is an astonishing talent who never overpowers but leads us gently and with total credibility through the narrative. In many ways the role of adult Alison is the most difficult and yet she makes us believe, as we watch two other actresses play her younger selves, that we are watching ONE actress, one person, totally integrated. Her voice is warm honey and the lesbian butch Dyke persona is never threatening but always very human. A wonderful piece of acting.

Micheal Enright plays the college aged Alison discovering her sexuality, with warmth and the right amount of naivety. Their stunning voice soars in the musical numbers and she has such an endearing stage presence that you want to reach out and hug them. It’s astonishing to hear that this is their professional debut. They is stunning. And the youngest Alison, played by the astonishing juvenile actress Theo Hunt, still in pigtails and doted on by her dad, without any knowledge of what the world has in store for her, is quite magical in every scene.

Deidre Grace plays mother Helen, with a dignity worthy of her surname. Slightly brittle from years of keeping the “dark” secret of their Dad from the children, when she breaks and tells the full story, it is gut wrenching, and especially painful for anyone who has lived through that moment. She nails her performance, another gift in a wondrous cast.

(I should mention also that she is responsible for the truly wonderful space that is The PIP Theatre)

Although these five actors/3 characters form the foundation, there is also fine work from the rest of the cast. Emma Erdis is the perfect Joan…college Ali’s first love. With a strong but natural stage presence they makes the affair seem perfectly logical and exactly what is needed. Daniel Kirkby gives all the other male characters…mostly Bruce’s lovers… strong individuality throughout…and then there are the children…Alison’s brothers.

Jaden Armitage plays Chris with great believability and warmth, and Fraser Goodreid, as youngest child John almost steals the show with his energy and charisma…surely a star in the making.

Add to this an exemplary band under the command of MD Ben Richards…some simple but clever choreography from Grace Clarke, and impeccable sound and lighting, and it is impossible to find a single fault in this very special production.

I saw five grown men, and many more women, in the audience choking back tears…or unashamedly letting them flow. Yes, it is that moving…and that good. One of my most special nights in the theatre in a very long time.

Coral Drouyn