The "fun" in Fun Home is short for funeral, referencing the family undertaking business inherited by Alison Bechdel's father. But there is fun too in this heart-filled musical adaptation of the cartoonist's illustrated memoir, revived at the Royal Exchange Theatre in Manchester. Directed by Sarah Frankcom in a fluid in-the-round staging, it brings a light touch to a story freighted with emotion.
A layered reckoning of past and present
Published in 2006, the graphic novel describes Bechdel's sexual awakening—she kissed a girl and she liked it—coinciding with the discovery of her father's clandestine gay life. In the musical adaptation by Lisa Kron (book and lyrics) and Jeanine Tesori (music), it becomes a layered reckoning as 43-year-old Bechdel (Jodie McNee) reflects on her student self (Alice Audrey O'Hanlon) reflecting on her childhood self (Felicity Moore at the reviewed performance).
Each has her own perspective on her conflicted father (Nigel Harman), who is at turns charming, narcissistic, and brutal—and dominates her imagination. Their mother (Alex Young) is more unknowable, having allowed herself to be subsumed by her mercurial husband.
Generational pain and family tragedy
In this respect, the show has the exposed-nerve trauma of Long Day's Journey into Night, with no family member capable of seeing the others for who they are. The parents do their best for their children even while bequeathing them a generational pain. The central tragedy—Bechdel mentions casually that her father killed himself—is made more troubling for being inexplicable. The cause is irresolvably out of reach.
Yet this is also a show full of brightness. Moore, as the youngest Bechdel joined by Reggie Kempson and Morris McKinley as her siblings (all phenomenally good), launches into a Jackson 5-style funk number around an empty coffin. The whole company sings Raincoat of Love, a feelgood pop song with the positivity of a TV theme tune.
Joy, irony, and queer celebration
There is soul in the heart-on-sleeve numbers sung by Harman and Young, but also joy, irony, and lust. O'Hanlon's performance of Changing My Major ("to sex with Joan") is a highlight. Tremendously performed, the show is full of knotty conflict, queer celebration, and a hope born of awkward survival. It runs at the Royal Exchange Theatre, Manchester, until 1 August.
