Fun Home
Hosted by Theater Latté Da
In what is surely one of the more profound productions currently on stage in the Twin Cities, Theater Latté Da’s newest offering is the 2015 musical Fun Home. A musical adaptation of Alison Bechdel’s graphic novel about her upbringing in Pennsylvania. Through the trials and tribulations of her life, she reflects on the relationship that she had with her father, a closeted gay man with many faults of his own, and the self discovery that she encounters as she learns to find her place in the 1970’s.
The story is brought to the stage with an immense amount of heart and love, thanks to the gorgeous book and lyrics by Lisa Kron and music by Jeanine Tesori, but the experiences showcased within, at times prove darker and more heartbreaking. A testament to how even when we put our family on a pedestal, there may be cracks beneath the glimmering facade that can’t be ignored.
Providing the visual framework of the production, set designer Eli Sherlock has created a space for the actors to play that authentically feels like an antique home cluttered with furniture and trinkets of the past. The arrangement of the set is very compartmentalized, perhaps to provide a mirror of Alison’s father, Bruce, as he tries to structure his life into different sections of his being, while striving to keep them from intersecting. Whether it is his continuous flirtations with younger men, trying to be a doting family man, or playing the part of a restoration enthusiast, he certainly has many plates he attempts to keep spinning if he would like to maintain the life he considers to be his “normal”.
Shad Hanley’s embodiment of Bruce brings to life the torment and longing that he has for a more fulfilling life. Hanley’s ability to lay bare all of Bruce’s yearning, frustrations, and at times vulnerabilities is simply a marvel to witness. There isn’t a moment when his presence isn’t felt, even when he is physically offstage.
Matching Hanley’s prowess is Ann Michaels whose portrayal of Helen, Alison’s mother and the woman who is constantly striving to keep her family intact. With such grace and humanity that most audience members will certainly be able to relate to, Michaels throws her whole being into breathing life into a woman caught between her duties and the, almost, longing for a different life.
Whether audience members are that person to their family or they grew up with that kind of mother, Michael’s portrayal rings extremely authentic. If proof is needed, look no further than her haunting eleven o’clock number showcasing all of the devastation, longing, and heartbreak that Helen has endured over many years of marriage and motherhood.
The trio of performers bringing Alison to life throughout the years provide an intimate look at what it was like for a young woman in the 1970’s having to discover who they were behind closed doors. Unable to fully be themselves due to the times and pressures to adhere to societal norms. Thankfully for the audience and fans of Bechdel’s work, she is pushed through those norms and embraced the person she always knew herself to be. This is on clear display through the dynamic performances of Sara Masterson (Alison), Monty Hayes (Medium Alison), and Eve Scharback (Small Alison).
Holding the reins of this production is Addie Gorlin-Han who masterfully directs the piece with immense attention to detail and understanding of the script/source material. Her strength lies in zeroing in on the smallest moments within the show. She never neglects any part of the script but Gorlin-Han understands that at the heart of this piece is a woman who just wants to understand her father better and be able to express how those realizations feel through her art.
Fun Home can be a difficult show to market to some audiences due to the lack of big theatrical numbers and flashy costumes but when it is as well written, directed, and produced as this production is, there is no doubt that the word of mouth will bring audiences in, in droves.
