Fun Home Reviews
DC Theater Arts- Highly Recommended
"...Fun Home is a show that deserves all the accolades and awards that it's received. It's funny and tragic and vulnerably honest and human. The writing is smart, the dialogue's quick and the music is fantastic. This touring company production of Fun Home at the National Theatre in DC is a must-see. Don't be like me with The Ramones. Fun Home is here now. Whether you saw it in NY or not, go see it as soon as you can. Trust me, you'll regret missing it."
MetroWeekly- Highly Recommended
"...The warm and wonderful Fun Home pulls off the remarkable feat of capturing a child's-eye view of the world, framed by a decidedly adult understanding of that kid's upbringing. The show's knowing voice originates at the source - cartoonist Alison Bechdel's best-selling 2006 graphic memoir of the same name. Adapted for the stage by playwright Lisa Kron (Well) and composer Jeanine Tesori (Caroline, Or Change), Bechdel's piercing tale of her own coming out, which coincided with her beloved (and closeted) dad's suicide, marries poignantly with Tesori's arresting melodies."
MD Theatre Guide- Highly Recommended
"...There is a live orchestra that actually shares the stage with the cast, which adds greatly to the richness of the performance (Music Coordinator - Antoine Silverman). The set was a great achievement - one of Bruce Bechdel's hobbies was restoring houses, so the set becomes more finished and grand as the story progresses, until being stripped bare again by the end. The costumes were also perfect and helped the audience navigate the different time periods of the musical (Scenic and Costume Design by David Zinn.) Finally, a story this complex could not have been as engrossing and effective without excellent direction, which it had, and Sam Gold won a Tony Award for his efforts in 2015. I wholeheartedly recommend seeing this groundbreaking musical while it is here in Washington D.C."
DCTheatreScene- Highly Recommended
"...What gives the piece so much of its emotional resonance is that these two people are very much products of the times in which they lived. Bruce Bechdel, coming of age in 2017, would certainly have had options available to him that he didn’t have as a young man in the 1950s. Alison Bechdel likewise would possibly not have fought or questioned her sexuality now as much as she did in the late 70s, early 80s. (I was also gay and in college in Ohio back then — I know of what I speak.)"