#funhome

Adapted from Alison Bechdel’s groundbreaking graphic novel, Fun Home is a refreshing original musical about the power of memory and how it helps us shape, reexamine or even destroy our identity. Moving between past and present, Alison relives her unique childhood playing at the family’s Bechdel Funeral Home, her growing understanding of her own sexuality, and the unanswerable questions about her father’s hidden desires. It was the unexpected winner of Best Musical at the 2015 Tony Awards, championed the underrepresented (specifically women writers and directors) and has become a sorely needed addition to the musical theatre zeitgeist.

Hamilton Theatre Inc. has taken an ambitious risk with producing Fun Home as part of their 65th season. It is Hamilton Ontario's premier of the show and there has been a great deal of anticipation regarding its opening. After several health based challenges leading up to opening night, the show finally opened its doors to Maple Avenue and the Bechdel "fun home." While the production has its flaws, it ultimately grants audiences a brave, humourous and heart-felt look at the lives of the Bechdel family and how tragedy can lead to healing and hope.

Director Tyler Collins has staged Fun Home to incorporate all the memories present-day Alison recalls. The main set is the house, which begins as a dusty relic and is unveiled as Alison's father's passion project and, as we discover, a way to express his closeted queerness. The set design has some effective reveal elements to it which I won't spoil here but shows the ingenuity in how to make larger scenes work on a small stage.

HTI often faces the challenges of spacing and this time, the orchestra is affected. Some members were in the loft and some were on the ground floor which often made the sound levels uneven and several songs were very difficult to hear over the instruments. Lesson 101 at HTI is always the power of projection as the cast is not mic'd and the hanging mics only provide so much assistance. Due to many cast members recovering from illness, this may have affected their ability to project so bravo to those who pushed through. That being said, audience members who are not familiar with the songs and story may find difficulty in hearing several cast members throughout. The production features some moody lighting that adds to the overall atmosphere of the show but is also underlit for several scenes. The actors faces were often so dark that the emotional impact was frequently lost. Perhaps, for the remaining shows, some extra spotlight usage or warm washes would help resolve this.

Where this show shines is in its casting. It is no easy feat to cast three individuals to play the same character at various points in their life. Collins and the creative team made brilliant choices in casting Kristi Boulton (Present-day Alison), Sabrina Gabrielle (Medium Alison) and Ariana Abudaqa (Small Alison). Each of these actors bring charm, humour and nuance to their performances and they even match one another in stature and vocal prowess.

Boulton interacts with the other versions of Alison in an endearing way while making hilarious quips about situations as she tries to make sense of her past. Boulton impresses with her deep understanding of the source material and channels the emotional impact of the story with deep respect and soaring vocals, particularly in Maps and the gut-wrenching Telephone Wire. Gabrielle embodies the nervous energy of Medium Alison perfectly while they accept their sexuality and their awkwardly joyful Changing My Major is equal parts funny and relatable. I hope to see more of Gabrielle on stage in the future. Small Alison is energetic and sassy, almost to a fault. There is undeniably a great deal of talent in Abudaqa but her performance of Ring of Keys comes off a bit too manic and less reflective in the realization of Alison's sexuality. It is a pivotal moment in the show and it doesn't have the impact it should. All this to say that at the finale, these three will have you tearing up with their powerful performance and gorgeous harmonization. Bravo.

While Alison is our protagonist, the show ultimately focuses on the strained relationship with her father Bruce, his closeted sexuality and the deeply concerning (and ultimately tragic) decisions he makes. Ian McKechnie is another strong casting choice in this role. He understands the levels needed to make this role work so that the audience never hates him but like, Alison, never truly understands him. The moments of rage and intensity delivered by McKechnie shows off his skilled acting ability and the tension and despair never feels phoned in. Very impressive work.

There is a great deal more to praise about HTI's Fun Home. Amber Mill's breaks our hearts with her tragically resentful Days and Days. This song is a key example of why musical theatre exists: to show emotion and reveal one's self when words simply aren't enough. Mills demonstrates the heartbreak in this song and it is delivered beautifully. The Bechdel brothers (Gretchen Tellez and Olive Millie) deliver some refreshing moments of levity in Come to the Fun Home and Raincoat of Love and Jackie Mahoney and newcomer to the stage, Ivan Bond provide balanced support as Joan (Alison's girlfriend) and various characters throughout. The costumes are period accurate for the 1970's and the colour matching for the characters, particularly the Alison trio, is creative and clever.

HTI's Fun Home is a welcomed piece of musical theatre in our community and almost a decade since its original debut, still has a story that needs to be told. Audiences will come to understand more about the rollercoaster of emotions while discovering one's sexuality, the hardships associated with it and how the past can be our greatest resource to accepting ourselves and those who impact our lives. Tickets are selling quickly for this Hamilton premier. Go to the Fun Home.

For tickets and more information, please visit: https://hamiltontheatre.com/tickets/

Yes I have the funhome proshot.

Yes you can have it.