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