Caption: Fun Home is a Hit! at Masquerade Theatre
by Brian Herrick
Caption: sexuality, identity, family secrets unveiled in a series of non-linear vignettes all in the subtle surroundings of your average Pennsylvanian funeral parlor (with special guest: the art of song!). While this might sound like the set up for your average David Sedaris inspired musing, “Fun Home” is a musical adaptation of Alison Bechtel’s 2006 graphic memoir of the same name. This reviewer had the pleasure of seeing Masquerade Theatre’s production of this 2015 Tony Award winning hit for best musical. I haven’t seen any adaptations since seeing the Broadway production, and I was immediately flooded with memories of not just that adaptation, but of appreciation for this imaginative (dare I say illustrative?) composition that made us feel like we were right there in the parlor living this experience with Alison and her family. The intimate vibe in Masquerade’s space lends itself to this type of small 90 minute musical (which only includes 9 performers). This type of show is perfect for their blackbox space. From the moment you walk in you can note the illustration on the wall to set the graphic novel tone (in place of a more literal set). My only note on this otherwise spectacular use of the space is I wish the white paint used to illustrate the tone of the piece was utilized on every angle of the Theatre. If I already felt transported to this world, I do wonder what would have happened if they covered more of the space with easter eggs relating to the show that could have been incorporated into direction more effectively. This of course is nit picky, as I enjoyed the concept, just think it could have been taken further.
Fun Home is structured into 1 Act, and is narrated from the perspective of Alison Bechtel, who is split up between 3 performers. Gabby Prince plays 10 year old Alison, Courtney Bundens plays 18 year old Alison, and Jodi Lawrence O’Connor plays modern day(? This is never specifically stated, but one can only assume) Alison. While the 3 split the role, the show is delivered from modern day Alison’s memory of the events as they transpired. There are often interjections in various scenes from O’Connor to help further layer Alison’s thought process throughout the show. The piece chronicles Alison’s journey embracing her own identity (with a bulk focusing on her own coming out process) and how it’s affected by her Father’s (Bruce Bechtel played by David Nikolas) closeted homosexuality. Much of the tension of the show centers around Bruce navigating his sexual identity, his deteriorating mental health, and how he communicates with his Wife (Helen Bechtel played Masquerade’s very own Artistic Director, Megan Knowlton Balne) accordingly. Portions of the show give a brief insight into mid 70’s gay cruising culture, largely showcased between Bruce and Roy/others (a utility track often depicting non platonic conquests, played by Jake Hufner).
As to add variety in tone, and more insight into her own coming (out) of age story, Bechtel expertly includes her own coming out process through Medium Alison’s plot line, and her first queer sexual encounter with fellow college student Joan (Courtney Bird). Although not structured to be, these scenes add levity and context to how Alison was able to able embrace her identity in adulthood. Medium Alison’s “Changing My Major” remains a major standout for the piece. To add another layer of levity to the Bechtel drama(tm), Alison is sure to shine a spotlight on what it’s like working in a funeral parlor, and even has a rousing number where and her brothers John (Grant Knudson) and Christian (Samuel Balne), imagine what a commercial for their parlor would look like (“Come To The Fun Home”). All in all, I cannot overstate what a compelling piece Fun Home is, from its writing to this specific production. While it’s in its truest form is one person’s journey that harkens back to an even more intense era of fear and shame around sexual awakenings. It’s easy to direct this piece to place blame on Bruce’s tragic storyline. Director Michael Hicks helped cultivate a fully realized picture stemming from nothing more or less than Alison’s perspective. Her memory on her journey from youth to today is the framing device of the show, and while her father wasn’t perfect, Hick’s direction offered no heavy handed commentary that could have easily shaped him into more of an antagonist. Hick’s vision on the piece as a whole left every character knowing where they were, without letting the intimacy of the space overwhelm the audience or complicate the beauty of the storytelling. I think in some respect I preferred this smaller rendition than the grandness of a commercial entity. It allowed the audience to appreciate the nuance in each character’s arc.
I wanted to take a moment and specifically acknowledge Bundens and Bird on the beauty of their scene work together. Alison and Joan’s chemistry just made sense, and flowed so naturally it left me wanting more. It’s easy to let this transitional stage of Alison’s life slip between the cracks in regards to emotional stakes, but the charm utilized by both performers helped maintain the reality of a college student just looking to find their place in the world. Bunden’s vocals on “Changing My Major” particularly were truly perfect for the role. Another standout was Jodi Lawrence O’Connor playing (Adult) Alison. This version of Alison, although omnipresent, doesn’t have a bulk of the exposition or active dialogue. However, O’Connor found a way to add depth and extra commentary to each moment she was reliving, and never take away focus, but rather add her own special spin to each beat. Her storytelling was beautiful, and her voice perfectly fitted for the piece. Finally, I would be remiss not to mention the star power of the youngest Alison, played masterfully by Gabby Prince. It would have been easy for Prince (or any artist that young) to be swallowed by the maturity of the piece, especially next to the seasoned cast around her, but she not only shined, but had the emotional gravitas of someone 3 times her age. You can tell Hicks and Prince worked together to make sure Alison could live in her moments of youth, but also found appropriate opportunities to ask why her world was the way it was. Watching her connect the dots in “Ring Of Keys” stole the show for me. She could be playing this role on any stage today.
I do want to make a special shoutout to Masquerade as a whole. Creating an artistic space is always difficult, let alone during the (whispers) covid era, but if this show is any indication alone, you can tell Megan and Tommy Balne really know how to utilize their space to their advantage, and cultivate a welcome environment that focuses on storytelling. Although they’re working with limited resources, Tommy in particular did a fantastic job of utilizing a non-traditional lighting grid, made up of string lights of varying colors. It easily could have taken away from the work on stage, but added so much that truly made this production special. This cast, this direction, this music direction (a special shoutout to Jonathan Rose as their MD. They sounded amazing. Great work) is truly one you don’t want to miss.
Caption: Go see Fun Home at Masquerade Theatre between now and May 4th.
Content Warning: Themes of suicidal ideology, sexual innuendos, swearing, and other mature content included. You can purchase tickets here: https://www.simpletix.com/e/fun-home-tickets-141439
