Stepping into PIP Theatre for their latest production 'Fun Home', it’s clear you're in for a musical experience that’s anything but conventional. Based on Alison Bechdel’s graphic memoir, this Tony Award-winning show invites us into the emotionally charged world of the Bechdel family, spanning multiple decades.
With its mix of wit, heartfelt drama, and introspective storytelling, 'Fun Home' invites you on an achingly relatable journey through the layers of memory, identity, and family bonds. As we navigate the turbulent waters of Alison's past, what initially seems like a nostalgic dive into childhood memories soon unfolds into a profound and sometimes heart-wrenching journey through the complexities of growing up, discovering who you are, and facing the truths about those you hold dear.
The story unfolds across three timelines, weaving between Alison’s childhood at her family’s funeral home (aka the 'fun home'), her college years when she discovers her sexuality, and her present-day reflections on those experiences. I noticed all three performers portraying Alison Bechdel use their eyes to reflect the rich tapestry of the character’s inner worlds. Theo Hunt’s eyes literally sparkle with wonder, embodying the pure joy of childhood. Michael Enright’s gaze is wide with curiosity and uncertainty as college Alison. Aurelie Roque’s eyes appear haunted as she navigates the profound emotional depth of revisiting and reconciling with one’s past.
Aurelie Roque delivers a masterful performance as the adult Alison Bechdel. Her performance is a study in nuanced emotion and introspection, as she navigates the complex landscape of Alison’s memories through her drawings. One of the standout moments of the evening is Roque’s performance of “Telephone Wire,” a poignant song that expresses Alison's struggle to connect her past with her present. This moving piece takes place during a deeply symbolic car ride with her father, portraying the heart-wrenching disconnect between them. Roque’s expressive voice conveys the profound sense of loss and unresolved questions that haunt the character. Roque’s ability to deliver both deadpan comedic moments and dramatic lines laced with sadness is truly captivating, solidifying her as a cornerstone of this evocative production.
Michael Enright, as college-age Alison Bechdel, is a clear standout, particularly in the solo “Changing My Major.” Enright captures the awkwardness and uncertainty of discovering one’s sexuality and the exhilaration of first love with remarkable authenticity and humour, eliciting plenty of laughs from the audience. Not to mention, their voice is outstanding! Emma Erdis, portraying Alison’s love interest Joan, complements Enright’s performance with self-assurance and warmth. The chemistry between Enright and Erdis is electric, enhancing their scenes with a natural and heartfelt connection.
Theo Hunt, portraying young Alison, is incredibly sweet. Their naturalistic depiction of childhood innocence, intertwined with a growing awareness of the complexities of the adult world, is truly impressive. In their solo "Ring of Keys," Hunt captures the moment when young Alison first encounters a lesbian and recognises something within herself—it's a powerful and beautifully executed moment brought to life through stunning vocals. Whether it’s the joy of playing in the funeral home, the anxiety of family tensions, or the awe of new experiences, Hunt's performance feels grounded and genuine.
As the show progresses, we witness how Alison’s relationship with her father Bruce evolves, from playful moments like the 'airplane' game to the tense, unspoken conflicts that arise as she grows older. The recurring phrase “I want,” echoed by the three Alisons, is a poignant reminder of the different stages of desire and longing we all experience throughout life. When together, the harmonies and overlapping thoughts among the Alisons create a beautiful, complex auditory experience. The final scenes are particularly powerful, as adult Alison reminisces on her memories through her drawings, building to an emotional climax as the trio of Alisons come together for “Flying Away.” Seriously, you might want to have some tissues handy!
Adam Bartlett as Bruce Bechdel gives a captivating performance as Alison's complex father. He skillfully navigates the line between a stern, harsh figure and a man grappling with deep inner turmoil over his hidden sexuality. This duality of Bruce's character comes to life through Bartlett’s commanding voice and stage presence. His interactions with the young men, all portrayed by Daniel Kirkby, offer glimpses of the joy that Bruce attempts to suppress. Bartlett’s performance in “Edges of the World” is particularly moving, as he conveys the desperation and raw emotion of a man feeling his life slipping out of control. Deidre Grace, as Helen Bechdel, carries a profound weight of sadness throughout her performance, which reaches its emotional peak in the solo “Days and Days.” Grace’s portrayal of years of suppressed unhappiness is utterly heart-wrenching, making this song a powerful moment of raw emotion.
Fraser Goodreid and Jaden Armitage deliver delightful and professional performances as the younger members of the Bechdel family. Fraser Goodreid’s portrayal of John Bechdel is a charming mix of cheekiness and goofiness that brings some much-needed comic relief to the show. Jaden Armitage, in his role as Christian Bechdel, infuses a vibrant energy and truly heartfelt presence into the family dynamic. Their interactions with young Alison are filled with joyful chemistry, which adds a lovely warmth to their scenes, particularly in “Come to the Fun Home.” The choreography for “Raincoat of Love” is well-suited for the intimate space and captures young Alison’s imagination as she envisions her life like a cheerful, singing TV family.
Benjamin Richards leads the small orchestra, which is set behind a scrim that creates the silhouette of a house. Their presence is heard in almost every moment, providing a subtle yet impactful underscore to the unfolding drama. Under Sherryl-Lee Secomb's direction, everything flows cohesively; the transitions between timelines always smooth. Due to the staging, the blocking never feels awkward; the actors have freedom to move naturally around the space. It's clear that the actors have had ample time to develop their characters to bring depth and authenticity to their performances.
The intimate space of PIP Theatre immediately immerses us in the world of 'Fun Home'. The set, reminiscent of a tidy, slightly eerie mid-century home, welcomes us into Alison childhood abode. The space is filled with antique furnishings, a coffin here, a dormitory bed there, and a drawing desk in the corner for adult Alison to observe the proceedings. The stage is almost in-the-round, with the audience seated on three sides, allowing for an up-close experience. For the best view, sit front-on to the stage; just keep in mind that the front row puts you mere inches from the action!
'Fun Home' is a testament to the cast’s talent and the creative team’s vision. It is not just a story about coming to terms with past trauma; it is a celebration of the courage it takes to confront the truth and the beauty found in embracing one’s true self.
For those eager to experience this powerful musical, 'Fun Home' is running until Saturday, 14 September 2024, at PIP Theatre in Milton. You can purchase tickets and find more information here.
Photographs by Kris Anderson
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