FUN HOME…SHORT FOR FUNERAL HOME?
Ostensibly, that’s right; it is set primarily in a funeral home. At its core the Chance Theater production could be said to center on a dysfunctional family. I suppose in this way it shares some parallels with the curiously engaging TV series “Six Feet Under”. This musical play, though, does not focus on the macabre, nor does it delve into a host of weird characters. FUN HOME homes in on the challenges of surviving the chaos in the family environment while managing to be uplifting in the process.
There is so much going on in this autobiographical script and not all of the developments end in resolution. Issues of sexual orientation, complex familial relationships, suicide, emotional abuse, literature as a means to “know thyself” and the impact of family chaos ingeniously dart in and out in the libretto intricately fashioned by Lisa Kron. Even as the stage journey begins, the audience is faced with the task of discovering the identity of several characters as they are delineated in light onstage. It emerges that the playwright has crafted the device of her storyteller, the LGBTQ activist and cartoonist Alison Bechdel, being manifested in three different versions of the central character’s self: youngster, older student and mature adult, all endeavoring to make sense of her tumultuous life.
This critic, along with many theatregoers, appreciates the adventure of sorting through observations and context clues provided by Ms. Kron as well as hints supplied by the superb director Marya Mazor, extracting every nuance from this TONY-winning musical book. Then, too, a deserved shoutout to the extraordinary contributions of a highly competent acting ensemble led by Ron Hastings (“Bruce Bechdel”) and Ashlee Espinosa (“Alison Bechdel”). Bravo! In fact, the entire team successfully breathes life into these characters: Madelyn Velazquez (“Medium Alison”), Holly Reichert “Small Alison”), Jennifer Richardson (“Helen Bechdel”), Reese Hewitt (“Christian Bechdel”), Christopher Patow (“John Bechdel”), Matt Bolden (“Roy” & others) and Ketino Christopher (“Joan”). Yes, Mr. Hastings and Ms. Espinosa are standouts in my book, yet all of the others do fine character work as well. In particular, the young actors (i.e. Holly, Reese & Christopher) seem destined for fulfilling professional careers if they so desire.
On giving this musical score a first listen, never could this guy have imagined that it had been composed by Jeanine Tesori, who performed the same chore for both THOROUGHLY MODERN MILLIE and SHREK. The most apt descriptor of her musical accomplishment might be to say it is “Sondheimesque”, although it serves the complex script to a tee. Lex Leigh provides the Music Direction, aided by musicians Isabella Pepke, Jimmy Beale and Jorge Zuniga, seamlessly augmenting the ideas and words of the playwright Ms. Kron. Love, love love that cello of Ms. Pepke (N.B. I’ve always been a fan of this glorious instrument because its emotional quotient registers off the charts IMHO!).
Never am I disappointed when visiting the Chance Theater in Anaheim. This acclaimed resident theater boasts a parade of the best Los Angeles creatives and acting talent. In this instance, let me heartily recommend this thrilling, heartbreaking production. “Come to the Fun Home” without delay!
Theatre Curtain Calling… Reviewing the Situation
