Silhouette Stages Offers an Emotional Rollercoaster in ‘Fun Home’

As the queer community continues to experience relentless attacks on its rights by the Trump administration, it is refreshing and timely that Silhouettes Stages is presenting the musical Fun Home this month. The groundbreaking show, which opened on Broadway in 2015 and captured 5 Tony Awards among its 12 nominations including Best Musical, Best Book and Best Score, is perhaps the first Broadway musical production to feature a lesbian protagonist. The story is potent and heartfelt with two queer characters traveling on a road where one has discovered the joys of her identity and living proudly and openly while the other is joyless in that respect and resides in the closet.

Award winning director Stephen Foreman deftly guides the talented cast through a structure that entwines three storylines revolving around a single character.  Within this framework, Mr. Foreman allows the performers to exhibit a wide range of emotions with clarity and precision. The pacing of the production is rapid but still leaving sufficient time to reflect on and appreciate what transpired in each scene. There are complexities and challenges, to be sure, such as, conveying conversations between the living and the dead, but Mr. Foreman and the cast adroitly pull it off.

Kaylee McDonald as Medium Alison,
Katie Cashin as Alison and Caroline Anderson
as Small Alison

Based on the graphic memoir by Alison Bechdel, Fun Home is a deeply intimate and quietly revolutionary musical that redefines what Broadway storytelling should look like. With music by Jeanine Tesori and a book and lyrics by Lisa Kron, the show transforms Bechdel’s coming-of-age story into a moving exploration of memory, identity, and family secrets.

Set in a small-town in Pennsylvania during the 1970’s, the story unfolds across three timelines, following Alison as a child (Small Alison), a college student (Medium Alison) discovering her sexuality, and a middle-aged cartoonist (Alison) reflecting on her father’s life and death as she attempts to pen captions to her work.

Alison, played deftly by Katie Cashin, is a fixture onstage throughout the show. She serves as the narrator, often at the side of the stage or upstage observing and commenting as she conjures up memories of her childhood and her relationship with her father Bruce, played exceptionally by Michael McGovern.

Bruce is the owner of the Bechdel Funeral Home (‘fun home” as it’s known to young Alison and her brothers John and Christian) and is a teacher. At times an overbearing father, Bruce is concerned or even obsessed with how Alison’s attire (dresses as opposed to jeans) and other facets are perceived by others. With an abundance of confidence and perkiness, Small Alison, sprightly played by Caroline Anderson on the evening of the reviewed performance (alternates with Jules Kanarek) seems to be the focus of Bruce’s parenting.

Significantly, Bruce is a closeted gay man trapped by societal expectations. He has trysts in secret with young men he meets.  His self-loathing and subsequent self-destruction are chronicled throughout with episodes of reckless behavior amid the secrecy. 

As Medium Alison (Kaylee McDonald) attends Oberlin College, she discovers her own identity and ultimately embraces it. She finds love with Joan (Maria Maclay) and eventually sends a letter to Bruce and her mother Helen (Ellen Quay) proclaiming she’s a lesbian. After not receiving a response, she returns home to confront her parents as to why they avoid a conversation on the subject.

Bruce’s death was revealed earlier in the show, so there is no surprise ending on that front. It appeared to be a suicide by standing in front of a truck or perhaps an accident. But Alison believes it was a suicide given the pressures and pitfalls her father had been experiencing.

"...Mr. Foreman allows the performers to exhibit a wide range of emotions with clarity and precision."

Sadly, we have seen too often in the entertainment media that a queer person feels compelled to take their own life. Alison submerges deeper into her memories and ultimately enters into them but is unable to reverse her father’s demise.

Tesori’s score is intricate and character-driven, blending folk, classical, and contemporary Broadway influences. Kron’s lyrics are intelligent and naturalistic, often feeling more like thought than performance. Together, they create a work that feels personal rather than performative. Numbers like “Ring of Keys” and “Telephone Wire” are low-key yet devastating, capturing both the elation of self-recognition and the agony of unanswered connection.

The comical and energetic song “Come to the Fun Home” is a crowd pleaser highlighting the antics of the young siblings as they were recording a possible commercial for the funeral home, and “Changing My Major” also adds a lighter touch. However, a deeply moving “Days and Days” exemplifies the eclectic catalogue. Overall, there are 27 musical numbers in the show.

In a tour-de-force, Michael McGovern shines as Bruce. Spirited throughout, Mr. McGovern commands the stage and employs his powerful voice in his acting and in song. He conveys his torment in a genuine manner.  Bruce is not only focused on Small Alison’s appearance, but he also obsesses about restoring the house. And when he is given to violent outbursts, Mr. McGovern rocks the auditorium.

Playing the character during the period from Small Alison to the current iteration, Mr. McGovern must undertake numerous costume changes, which is a challenge in itself. Credit costume designer Debbie Mobley for fitting the cast in realistic period attire.

As Alison, Katie Cashin delivers a rather subdued and effective performance. As her memories advance through her mind, her soft-spoken monologue and body language reflect the angst she had experienced as a youngster but is satisfied with the way her true identity emerged. Her regret is the way things turned out with her father. Ms. Cashin possesses solid vocals, which are evident in several group and solo numbers.

Caroline Anderson played Small Alison on the evening the show was reviewed. She and her siblings Christian, played by Noah Anderson and John, played by Cooper Johnsen, are bright stars in the production and provide much of the comic relief. They truly appear to enjoy themselves with their playfulness and quips, but Small Alison’s interactions with her father are poignant and gets your attention. The tension is manifested through her own ways of gender expression, which goes against her father’s viewpoint. Young Caroline does a wonderful job in those situations.

Medium Alison, the college student, is played well by Kaylee McDonald. It is while in college she accidently finds her entrée into lesbianism with her partner Joan, played convincingly by Maria Maclay. Ms. McDonald is a standout in the comical song “Changing My Major.”

Ellen Quay is excellent as Bruce’s wife Helen Bechdel. Not only does she sing very well in the ballad “Days and Days” and the group number “Welcome to Our House on Maple Avenue” among others, but she also successfully conveys the complex blend of idealism and disillusionment in her marriage. She was aware of her husband’s affairs but cannot, at least immediately, accept Alison’s emerging identity.

Ryan Kieft is an energetic performer playing multiple roles, some of them were Bruce’s sexual partners. He appears in a few numbers portraying these characters and does a good job vocally and in dance. This is especially true in the group number “Raincoat of Love.”

Most of the action takes place in the Bechdel home, which is decorated with graphic artwork, books and antiques. It’s a real nice and functional set designed by Stephen Foreman and decorator Ande Kolp. Many set pieces and furniture are used giving the production much texture and visual enjoyment. Even a casket appears, which is the source of “Come to the Fun Home.” Lighting Designer Collin Griese does fine work illuminating the set.

And hats off to conductor Dave Foley and his eight-piece orchestra in the pit for giving Jeanine Tesori’s remarkable score the justice it deserves.

A complete list of the remainder of the Production Team is shown at the conclusion of the review.

Silhouette Stages deserves enormous plaudits through its direction, production team and the superb performers in delivering this powerful production, emotional rollercoaster and all.

Fun Home is not a musical with a lot of pizzazz. Yet it deftly blends humor with emotional depth through its portrayal of family dynamics and personal identity.  

At the conclusion of the show on opening night, director Stephen Foreman was seen in the lobby beaming with pride at what he just witnessed. And rightly so.

Running time. One hour and 40 minutes with no intermission.

Advisory: Fun Home contains adult content, mature language and themes, including discussions and depictions of death, violence, suicide, sexuality, and sexual content and is not recommended for children under age 13 using parental discretion.

Fun Home plays on weekends through March 22 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography 

A Rock Show for the Ages Rocks Toby’s

Oscar Salvador, Jr. as Stacee Jaxx

It may as well have been a 1980’s rock concert sans illegal substances: mind-blowing, hand-clapping rock music with an infusion of metal; multi-hued lighting; fog effects; and an audience totally into it and eager to sing along to the music.  That’s what occurs during the superb production of Rock of Ages, now gracing the in-the-round stage at Toby’s, the Dinner Theatre of Columbia. The heat generated by the non-stop energy will hopefully melt the frigid snowpack outside that has stubbornly persisted when this performance was reviewed.

There have been dozens of popular jukebox musicals—Mamma Mia!, Jersey Boys, Escape to Margaritaville, On Your Feet, to name a few—that showcase a particular individual or group. In the five-time Tony Award-nominated Rock of Ages, another jukebox musical, you have a show which focuses on multiple acts and performers, but in particular, an era and genre—the rocking 1980’s.

Mark Minnick, a Helen Hayes Award winning director, helms the show with precision, solid pacing and crisp tempo, guiding the hard-working and talented cast. Several faces new to Toby’s regular patrons appear in this production, and they did not disappoint.

Mr. Minnick also co-choreographed the production with Julia L. Williams where the high-octane dancing is rhythmic and creative utilizing the round stage with aplomb. All the dancers excel during the numerous production numbers.

Lynn Joslin’s stunning lighting design and Mark Smedley’s effective sound design augment the atmospherics.  Eighties-period rocker costumes designed by Heather C. Jackson with a grunge vibe are spot on. Jason Kueberth, who was kept busy designing the hair and wigs, did a splendid job in topping off the company with a distinct 80’s look including long hair and mullets for the guys.

Musical director Ross Scott Rawlings, who conducted the absolutely fantastic 5-piece orchestra, was clearly on his game the night this production was reviewed. The orchestra, not concealed behind a balcony partition as they normally are during Toby’s productions, gave the rock score including ballads, the treatment they deserved. Ethan Popp is credited for the arrangements and orchestrations from the original Broadway musical.

A visually pleasing set designed by Shane Lowry with the use of creative set pieces and props augment the visuals.  Mr. Lowry is the master of 3-dimensional wall decorations, and his reputation for excellence continues with this production. Creating a bar/club ambiance with period artifacts, musical instruments, neon beer signs and other objects on the walls surrounding the stage hit the mark. You know we are going back several decades in time when a sign displayed the price of gas at 86 cents per gallon.

The cute but convoluted love story that unwinds and the often-hilarious subplots from a book by Chris D’Arienzo are embedded in a catalogue of classic rock ‘n roll and glam metal songs.  Music from Journey, Styx, Whitesnake, Bon Jovi, REO Speedwagon, Foreigner, Starship, Pat Benatar, Twisted Sister and many others tie in neatly to the story. Many of these songs are popular, and likely will be familiar to the audience with some of the numbers truncated; that is, only snippets of the songs are performed, to keep the plot moving along.

"Mark Minnick, a Helen Hayes Award winning director, helms the show with precision, solid pacing and crisp tempo..."

Set in 1987, Noah Mutterperl plays Drew Boley, a barback in the Bourbon Room, a bar on Hollywood’s Sunset Strip, who falls for an innocent girl from Kansas named Sherrie Christian played by Rachel Cahoon.  (You just know that the Steve Perry song “Oh Sherrie” will surface at some point.)  Their desire and pursuit of a romantic relationship form the central plot but there are other humorous storylines with a lot of moving parts going on that supplement it.

Mr. Mutterperl is exceptional as the vulnerable good-guy Drew with dreams of making it as a rock star.  His powerful tenor voice with an enormously wide range is magnificent. Such numbers as “I Wanna Rock,” “High Enough,” the superb duet with Ms. Cahoon “Waiting for a Girl Like You” and yes, “Oh Sherrie” showcase his amazing vocal talents. Yet, it is during “The Search is Over,” the romantic ballad made famous by REO Speedwagon, that Mr. Mutterperl demonstrates why he is an elite vocal talent.

As Sherrie, Ms. Cahoon, a tremendous talent with spot-on acting skills, is also dreaming of being a star.  At a picnic on a hill overlooking Los Angeles, Drew drops the f-word—friends—and that was that.  She mistook his desire to be simply friends and not looking for a serious relationship. Sherrie was so disappointed she pursues other options.  This innocent young lady winds up becoming a performer in the Venus Club—a strip joint, er, gentleman’s club, as many aspiring stars wind up doing.

Rachel Cahoon as Sherrie and Noah Mutterperl as Drew

Rachel Cahoon possesses a strong rock belt voice and excels in several group numbers. They include “More Than Words/To Be with You/Heaven IV,” “Wanted Dead or Alive,” “I Want to Know What Love Is” and “Here I Go Again” among others. Her duets with Noah Mutterperl give goosebumps, and it wouldn’t be a stretch to describe them as Broadway caliber.

Justin Colombo plays Lonny Barnett, who also works at the Bourbon Room and serves as the show’s narrator whereby he immediately endears himself to the enthusiastic audience. Charming and comedic, mischievous and fun-loving, energetic and whimsical, Mr. Colombo plays the role to the hilt. He is literally a scene stealer as he comically inserts himself into many scenes. His clowning is manifested not only by his spoken words but also his physical comedy, of which there is an ample amount.

Mr. Colombo’s singing talent and strong tenor voice are on display in a few numbers highlighted by a loveable and amusing duet “Can’t Fight This Feeling” with Matthew D. Burns as Dennis Dupree. The owner of the Bourbon Room.

One of several performers making their Toby’s debut, Mr. Burns’ laid-back portrayal of Dennis is excellent and a perfect complement to the hyper Lonny character. His facial expressions are priceless and well-timed by the veteran actor.  Together they perform nicely in “Just Like Paradise/Nothin’ But a Good Time” that opens the show as well as the aforementioned duet that shines as one of the production’s show-stopping numbers.

In the role of cocky bad boy Stacee Jaxx, a biceps-flexing rock star who decides to leave his successful metal-rock band Arsenal to try it solo, Oscar Salvador, Jr.  performs quite effectively with an abundance of flair. Stacee is one of the story’s villains who does some naughty things, with Mr.  Salvador’s comedic and acting skills being on target.

His vocals are superb in “Wanted Dead or Alive” and “Here I Go Again.” But it is his performance in “I Want to Know What Love Is” that highlights another memorable scene.

Jordan B. Stocksdale plays Hertz Klinemann, a cold-hearted German developer who is trying to buy up the Sunset Strip to eliminate the sex, drugs and rock ‘n roll lifestyle and bring in what he calls “clean living” to the area. Of course, the Bourbon Room is a target.  Mr. Stockdale is charming in one of the musical’s rare solos, “Keep On Loving You” showcasing his excellent tenor vocals.

His flamboyant son Franz is played deliciously by Jeremy Crawford. Campy Franz wishes to open his own candy store in Germany but is intimidated by his strong father until things change over the course of the show. One of his funny lines, “I’m not gay… I’m German” is uproarious in its delivery.

Proficient vocalists, they appear together in several numbers, such as “We Built This City/Too Much Time on My Hands.” They excel in the group number “Hit Me with Your Best Shot” when Franz finally stands up to his father.

An excellent performance is turned in by Tobi Baisburd as Regina (rhymes with Carolina) Koontz as the mayor’s assistant who is fighting to save the Strip.  She and the ensemble heartily deliver “We’re Not Gonna Take It” and “The Final Countdown.”

Also performing well is Kadejah Oné as Justice, the owner of the Venus Club.  A former performer, Justice provides soothing advice to Sherrie and demonstrates solid acting abilities in the process.  Possessing a sterling singing voice, Ms. Oné excels in “Shadows of the Night,” “Here I Go Again and “Every Rose Has Its Thorn.”

Terrell Chambers is wonderful in playing multiple comedic roles, especially the Mayor.

The remainder of the cast and musicians support the leads exceptionally. They include Patricia “Pep” Targete, Alexis Krey-Bedore, Kiana King, Shane Lowry, and Carter Crosby.  Those in the talented and energetic Ensemble not named above are Justin Diaz, MaryKate Brouillet and Nadja Tomaszewski.

For full list of the cast, musicians and technical crew, visit here.

With Rock of Ages, you will experience a well-directed lively, nostalgic, highly entertaining production performed by a rock-solid company. The journey takes you back in time, and it’s time well spent to get out from the chill. The finale is electric and perfect. And while you’re at it, enjoy Toby’s famously delicious buffet. The Menu is shown here. Rock on!

Running time. Two hours and 30 minutes with an intermission.

Advisory. Rock of Ages contains adult language and adult situations and is not recommended for young children.

Rock of Ages plays through March 15 at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here.

Photos: Jeri Tidwell Photography

Specialty Drink: The Bourbon Room (Jack Daniels and lemonade, but a non-alcoholic version is available).

Next up: The Wizard of Oz, March 20 through June 7.