Witness Queer Joy & Grief with Cumberland Players’ Fun Home
- Kristine Bonaventura
- 5 days ago
- 4 min read
by Aidan Rowe
Fun Home “makes being strong cool” in the hit musical based on the 2006 graphic novel of the same title written by Alison Bechdel, with music by Jeanine Tesori and book and lyrics written by Lisa Kron. In this introspective and deeply moving production, we watch the complicated family dynamic of a closeted father and daughter duo who ultimately choose different life paths. Under the demanding and critical thumb of her father Bruce, portrayed by Garrett Bruce, Alison’s hopes and dreams in childhood evolve into festering self-doubt in this coming of age story - all while Bruce’s struggle with his own sexuality reaches a breaking point resulting in tragedy.
Our story is set on a small stage that transforms into a beautiful family home, evoking feelings of comfort and awe (set designed by AJ Klein, constructed by Michael Blandino, Monica DiMauro, and Danny VanMeter). It’s done so with an excellent use of space and a cozy interior featuring grand wooden furniture and well-kept decor (scenic painting by Michael Blandino and Monica DiMauro, set dressing by the names former and Beth Blandino). Peering inside the wooden cabinet, we see the attention to detail provided by the properties team (Monica DiMauro, Beth Blandino, and Michael Blandino). From the meticulously organized books to the later-enjoyed alcohol, they add personality and realism.
The image is starkly framed with a puzzled together structure and zig-zagged yarn as if peeking in at an investigative and fractured memory. And in the corner? A desk with our modern day Alison, JP Zarukin, sorting through a cardboard box and writing. Serving as our narrator, a closed casket looms behind them.
What feels immediately heavy is cut like a knife by the bright personalities of young Alison (Gabby Prince) and her siblings, Christian (Natalie Mateo) and John (Julian Prince). We discover the almost impossible standards of their father and what he seems to value most, what can be perceived superficially. A tight ship is run with their mother at the helm, Helen (Ash Kotter) who is overextended and banded with her children as they try to keep the house up to Bruce’s specifications. Despite the expectations placed upon them and the peculiarity of Bruce’s profession as a mortician, we see young Alison as artistic, curious, and bearing the fragile optimism that is youth. The young actors are a delight to watch, bringing levity and laughs. They build believable and endearing sibling relationships in a stressful and unpredictable home life.
We also get our first peeks at what is going on behind the facade, scandalous flirtation from Bruce directed at younger men, which at times seems felt by a knowing Helen from a different room. Ash Kotter effectively chips away at your armor with her stunning vocals and repressed demeanor. Bruce’s targets of lust are portrayed by Chris Crawford Jr. who easily portrays innocence as well as debauchery depending on the character he’s bringing to life: Roy, Mark, or Pete.
In the awkward throes of adolescence, our middle-aged Alison is the charming Mariah Jude who falls for the easy confidence of an out and proud Joan, portrayed by Riley Newman. There is something so special and relatable in every facial expression as we watch them grasp and take ownership of her own newly accepted sexuality and hold firm against opposition. Their number Changing My Major brought unexpected tears.
Director, AJ Klein, does their job at making you feel captive to the story which runs more like an emotional marathon. The story is told in visceral snapshots and fever dreams, but pacing is somehow natural and works just as one’s mind does when dotting from flashback to sobering present. The production manager Michael Blandino and stage manager Jett Meisel kept this chaos well coordinated and the result is a quality piece that I believe is a must see.
Proving that lighting is not light work, but a device in great storytelling, light designers AJ Klein, BJ Garrison, and Monica DiMauro excel with timing and mood. Light operator Elliot Henry hit every beat. The only small crack in production was audio that at times cracked, which is unfortunate when this cast has such remarkably strong vocals. However, this didn’t disrupt the performances. Every word is heard and they rolled expertly with the punches, thanks to the sound operator Jett Meisel. A strong point, thanks to music director JP Zarukin, is the musical balance that keeps the story cohesive and engaging.
You will struggle to find young actors as capable as Gabby Prince who conveys a blossoming young girl who is at times being forced closed. JP Zarukin’s performance was one that, at times, was quite painful for a queer person who lost a parent also at an impressionable age. They carry their grief and love with authenticity, grace, and humor. It isn’t always pretty, but boy is it captivating! This is only enhanced by watching Mariah Jude build up a father daughter relationship as delicate as a house of cards under immense pressure, and watching her thrive anyway. I hold the opinion that costume designers Beth Blandino, Lucy Blandino, and the cast involved are a vital part in us watching Alison come into herself and begin to experiment and see what she wants and who she is.
It takes someone with great precision and range to take a multidimensional character like Bruce and not only make you understand him, but grieve him despite his more than unsavory actions, but Garrett Bruce does this beautifully with a vibrato that shook the room. His portrayal revokes a chance to begin again, leaving a family in the ashes of fear and anger. And all of us are left polishing his memory like the silver his character leaves behind.
You can watch Fun Home now through November 23rd at Cumberland Players, located in Vineland, New Jersey. You can purchase tickets here:
