Assessment: Fun Home – JADAR

★★★★☆

The Royal Exchange Theatre is now midway by way of its fiftieth anniversary “Homecoming” programme, underneath the daring creative course of Selina Cartmell, who was simply what the theatre wanted. The numerous year-long programme not solely sees the return of basic musicals at Christmas (slightly than the extra area of interest, experimental musicals post-pandemic) but additionally a musical on the midway level: the long-awaited UK regional premiere of Fun Home, which received the Best Musical award on the Tony Awards again in 2015 and and was extremely acclaimed when it had its UK premiere on the Old Vic again in 2018 however was surprisingly not seen once more – till now.

The thirtieth Royal Exchange manufacturing directed by earlier Artistic Director Sarah Frankcom, it marks 20 years for the reason that publication of Alison Bechdel’s graphic memoir upon which it’s based mostly. The narrative chronicles Bechdel’s youth in rural Pennsylvania, her realising that she is homosexual at college, and her relationship together with her closeted, emotionally distant father. It explores how she involves phrases together with her personal lesbian sexuality simply earlier than uncovering her father’s secret life and his premature, tragic demise, which we’re instructed about in the beginning of the present. The non-linear narrative permits the viewers to overlook in regards to the upcoming demise, however the Alison Bechdel character (a captivating Jodie McNee), who narrates the present, later tells us precisely how he dies, which hits even tougher not solely due to how horrifying his demise is but additionally as a result of we’ve got know gotten to know, and love, these characters.

The father, Bruce Bechdel, is performed to perfection by the at all times sensible Nigel Harman, who evokes sympathy and empathy for a troubled, morally doubtful character. The e-book, by Lisa Kron, by no means justifies his actions, nevertheless it permits the viewers to grasp the mindset of the character. It additionally delves into the psyche of his spouse, Helen (Alex Young), who hides behind a Stepford Wife-like facade. Whilst at first she seems oblivious, maybe knowingly, it’s later revealed that she is aware of precisely what (and who!) her husband is getting as much as – however that is steered early on when she reacts weirdly suspiciously round her husband’s good friend (performed by Lucca Chadwick Patel, who skilfully performs a couple of characters: Roy/Bobby/Mark/Pete).

Natasha Cottrial performs the placing Joan, who’s liable for Alison’s sexual awakening. She additionally performs The Audrey Deys, alongside Alice Audrey O’Hanlon, whose most important character is “Medium Alison”, while Harriet O’Shea performed “Small Alison” on press night time, with Reuben Shepherd and Theo Wake enjoying her brothers, John and Christian, respectively. It’s an exceptionally proficient child forged, with impressively plausible American accents.

It’s a reasonably easy, sparse set design (Peter Butler, who additionally designed the stunning costumes), with some set items, and a revolve which creates drama and pressure, and slick lighting design by Bethany Gupwell – however director Frankcom has stripped issues again in order that the viewers’s focus is sort of completely on the wealthy textual content, dexterous songs, and highly effective performances.

The rating (music by Jeanine Tesori and lyrics by playwright Lisa Kron) is nice however many of the songs mix into one, save for the catchy title quantity, ‘Come to the Fun Home’, which is the closest the present involves having a show-stopping quantity. But this isn’t that form of musical. Many take into account the rating to be a masterpiece of emotional depth and melodic storytelling, with character-driven songs which delve into the psyche and motivations of the characters and additional the narrative, with out a filler in sight. Rather than counting on conventional, overly saccharine Broadway energy ballads, the rating is made up of delicate, melancholic melodies and conversational, diary-like buildings. It seamlessly bridges the hole between reminiscence and actuality, turning a primarily visible medium right into a devastating and continuously hilarious musical panorama.

That mentioned, the rating would possibly profit from one or two extra groovy numbers, as having ‘Welcome to the Fun Home’ so early on dangers the viewers wanting one thing of that tone and sound once more – nevertheless it by no means comes.

Furthermore, due to the a number of timelines, with out an apparent level to pause, the pacing and tone can really feel barely wearying because it grapples with heavy themes of repressed sexuality, marital discord, and suicide. But the non-linear strategy largely works very nicely, efficiently mirroring how human reminiscence really works. Instead of a standard timeline, the memoir operates like a labyrinth or puzzle, continuously circling again to the identical pivotal occasions – her father’s closeted sexuality and his presumed suicide – to analyse them with new, evolving views. The musical – or maybe this interpretation of it – often leans into sentimentality, which is pointless when the script and rating are already so textually, thematically and emotionally sturdy. But these criticisms are small, and really debatable, in what’s, undeniably, one other smash-hit manufacturing for Frankcom.

Fun Home is a enjoyable, recent and fearless.

Fun Home runs on the Royal Exchange Theatre till August 1.