Sorry to bump this thread, but I didn't want to start a new one just for my own review.
I've been anticipating this show since I heard Tesori's name attached. Caroline, or Change's cast recording has been my favorite show of the 2000s since I heard it and I was so excited to have this woman back doing something off-Broadway (Violet and Caroline are my favorites of hers, so I was glad it seemed to be more of that "off-Broadway" type show rather than Millie or Shrek).
My parents were with me, so we thought we might go see "The King and I" because my father likes shows a little more classical and not as sad, but after he heard my mother and I discussing it, he wanted to go (he had seen a production of The King and I prior, but I think we're going to see that tomorrow). We gave him a little overview of the show so he wouldn't be shocked at the subject matter or Alison's opening remarks regarding the fate of her and her father.
I was very fond of both cast recordings, so I knew a the score and a great deal of dialogue as well. Let me preface this by saying I wasn't as impressed by the cast recording as many on here were. I thought it was quite good, but didn't quite reach Caroline heights (I bought the Public cast recording and heard it a few times before the new Broadway release). After numerous listens, the score has grown on me quite a lot and I was rooting for it Tony time. While I admired much of it, I still thought a lot of the material felt distanced, and not as intimate.
After seeing this show, I see just how wrong I was.
It was phenomenal. Not just the show, but the cast, the score, the orchestrations, the set - everything. That small band played with such feeling, and the gorgeous orchestrations wrap you in this world. From the second Beth walked on stage the audience was still. Numerous times I found myself literally leaning closer to the stage, trying to take everything in. The theater is so perfect for this show, and there is not a bad seat in it - you feel part of the family.
In the middle of the show I found myself wishing I hadn't listened to the recording before so "Changing My Major" and "Ring of Keys" would have been more of a surprise to me. The entire cast deserves heaps and heaps of praise. I fell in love with Joel Perez (can I take him home?) and adored the fabulous Roberta Colindrez. Beth Malone was crazy good - especially being on stage the entire time and totally involved with everything that happened. Emily Skreggs was winning and very believable as the awkward college age-type. Special standouts to Sydney Lucas, who has a wisdom far greater than her age and makes everything she says (or sings) so fresh and poignant. "Ring of Keys" brought the house down. Judy Kuhn, who essentially has a cameo, really wrung the most out of her role - the regret and defeat ring out through everything she does ("Helen's Etude (Maybe Not Right Now)" was particularly great) and by the time you're ready to let her disappear she gives that astounding 11 o'clock number ("Days and Days" and completely destroys you. Having her be essentially mute and then finally let her feelings out really makes her rise to operatic levels in tragedy. And, of course, Michael Cerveris, who gives one of the most complex performances in recent memory, was astounding. He made me hate him sometimes, laugh and relate to him at others, and finally, despair at his demise in the particularly haunting (the orchestrations were really great here) "Edges of the World".
I must say, I wasn't expecting to love it as much as I did. The opening grabbed me (and Sydney is fascinating to watch) and I felt in familiar territory. Then, suddenly, at the end of "Welcome to Our House on Maple Avenue" I felt tears dripping down my cheeks. That's not very odd, as I cried once during two of the four shows I say on my previous visit ("Private Conversation" in Side Show, and during Gabey meeting Miss Turnstiles after "Do, Rei, Do" in On the Town". However, I did not expect to cry during this show. Then, after "Changing My Major", I started again and I don't believe I stopped until the cast was bowing. Many times I was nervous I was going to start sobbing and disturb those around me. "Days and Days" and "Telephone Wire" really brought it home. The conceit of having Big Alison step in for the car ride is brilliant, as is only having the three Alisons during the Finale. When the lights came down, there was a brief moment where everything was still. Then, thunderous applause. When the lights came up there were many, many people who were crying and it all felt so connected - we all experienced something incredibly special.
I probably connected to it because of my own interesting relationship with my Dad, who is in many was as much of a mystery to me as Bruce is to Alison. However, the magic happening at Circle in the Square is something that everybody needs to see - it doesn't matter if you're straight or you and your father are best friends, it truly is amazing. It is not to be missed and I beg everyone to go see it if you have the means to.
As a side note, my mother loved it, but my father had a difficult time. He's not fond of sad things (he almost walked out of Silver Linings Playbook) and, besides the homosexuality and the affairs, he's a lot like Bruce so it might have been difficult to see it portrayed so searingly on stage.
Sorry if this post was obscenely long, but I just had to share this experience with you all. I would like to thank Tesori, Kron, and Gold for this beautiful, beautiful show.
"Sticks and stones, sister. Here, have a Valium." - Patti LuPone, a Memoir
I enjoyed reading your post a lot. I remember when people who hadn't seen the show started commenting on its overall quality after the off-Broadway recording was released, I felt it was like commenting on a film you saw with the projector bulb turned off. (Are there still projector bulbs?).
It's just me personally but I have never ever been interested in cast recordings of shows I haven't seen. So, when the site's resident precocious tween who thinks graphic novels aren't literary travelled across country and saw Fun Home after being underwhelmed by the cast recording, I thought, "Well, there's a surprise!" that he didn't like it. How else would that turn out?
But your review is more what I would have expected a true theater lover to say and feel. So I was glad to read every word.
I never buy/listen to a cast recording until after I see the show. Always seemed better to use it to revisit a show than to sort of decide what the show is in your head, etc. But I do realize not everyone can come to NYC all the time.
Glad you enjoyed it, though. I saw it twice at The Public, and really need to get to the Circle already. Maybe I'll SRO it this weekend...
This is actually only my second time in NYC, so I basically live through cast recordings, which is why I have an obscene amount of them and get most of the new one right away. I'm moving in for college right now which is why my parents are with me -and it really was nice to be able to see the show with my father, as we don't do things together as often as we should.
Last time we were here (November 2014, for college auditions), I took my mother and her mother to see shows I thought wouldn't be here much longer - Side Show, Honeymoon In Vegas, and they went to see Kinky Boots while I went to On The Town. For my grandmother we also saw Cabaret with Emma Stone.
This really showed me how nothing, not even professionally filmed productions, can really capture the essence of being in the theater. I am so glad to be in a place where I will have more opportunities to see shows like this - I'm already so excited for First Daughter Suite in October!
And I forgot to mention one part that I really loved - the transition from Bruce and Helen's argument into "Raincoat of Love".
As a side note, I'm 99% sure Andy Mientus was there tonight, but I was too nervous to go up to him.
"Sticks and stones, sister. Here, have a Valium." - Patti LuPone, a Memoir
I agree with so much of what you felt about Fun Home. Beautiful.
I dont normally purchase cds ahead of time, either. I want to both let the experience to happen with few preconceived notions and I also don't always WANT to listen again. I picked up the Something Rotten CD because it was under a bunch, and couldn't even get through the whole once until after seeing the show.
However, I missed this at the Public and when the transfer was announced I honestly felt compelled to grab the CD. I'm one that fell in love immediately. And then finally seeing the show was just the cherry on top.
Glad you enjoyed the show, and best of luck for a great college experience.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
So wonderfully articulated, Sally. I was with you, every word. And I agree: there are few moments as stunning yet theatrically simple as the one when the Malone Alison is asked to go for the car ride. The conceit of the entire show coalesces around that heart-stopping instant when the adult gets a kind of psychological do over with her father. It's so brilliantly set forth, and of course, "Telephone Wire" wrings new tears. The lyric, "...tell me you see me..." just voices the entire eloquent premise of the evening's storytelling. Beth Malone, the anchor, was ultimately my favorite performance, in part because she so effortlessly and without a shred of excess (or indicated) emotion or unnecessary ornamentation conveys the high stakes in the intensely focused journey. It's likely in part due to my own age, and both bidden and unbidden revisits to the past, but watching her watch her younger selves moved me more than anything in the show. It's just such a layered experience, and your review so perfectly captures it.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Remember when I said I liked it and I didn't like it? I said that it was the best adaptation we could possibly hope for from such a personal and perfect graphic novel, but I felt it lost a lot in its translation to the stage. Of course, you wouldn't bother to actually look up what I said, because what matters more is what you thought I said. And I still love the graphic novel, but I don't think teaching it in a college is challenging students to actually learn something.
I don't think precocious is an insult, and I still fail to see why everyone thinks it's hilarious to point out that I'm young. Maybe it's because so many of you are getting on in age and still insulting people on the Internet. I hope when I'm 40, I have better things to do then put way too much effort into making fun of someone young, idealistic, and basically harmless.
AND I liked the cast album more after seeing the show.
I suppose after the demise of Phillypinto I'm back as the resident punching bag, though.
Hunnnnnnnnnneeeeee. I didn't mean precocious as an insult. I meant it as an adjective. It's not a grudge I held. It's a piece of information that informed this discussion.
I'm definitely getting on in age. When you're my age you'll definitely see where I'm coming from. Perhaps it will ring a bell when you hear yourself saying to somebody, "Aren't YOU a smart little boy! What grade are you in?".
You know, I work with young children, so I do say things like that to young children. If a random stranger said that to a 17 year old on the street — that might be a little weird. Whatever floats your boat.
And it's always funny to see people respond to select things I say and ignore other parts.
It's a response based on the sense I got from reading your posts about Fun Home in every permutation. It's subjective. And as we all agree, whatever we post is our subjective opinion.
You are still off base about the college assignment. The book was chosen to spark discussion and to spur thinking. And if you feel people don't have anything to learn from it, you are dead wrong. That's true of most good literature. No, the actual READING level isn't challenging, but the content certainly is.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Sally Durant Plummer said: "I'm moving in for college right now which is why my parents are with me -and it really was nice to be able to see the show with my father, as we don't do things together as often as we should.
Welcome to New York, Sally! Keep seeing everything you can and posting about it! Your emotional response to FUN HOME was very similar to mine, and I enjoyed reading it!
And Fantod...love you, girl. But before you come down on what colleges should be teaching, maybe you should get to college and experience it. Because...word of advice...what you think it is is not what it is. And if you don't recalibrate, you're not going to be a happy camper.
I reread it last night and I was wrong. Colleges could study it if they wanted to, though I personally wouldn't want to. I was wrong, though. It happens.
Girl...it's not about right and wrong. I appreciate your intelligence and your willingness to present strong opinions. I get you. Hell...I was you. So take a tip from your Ghost of Christmas Future: do not get caught up with shouldn'ts and shoulds at your age. Decide now you know sh*t about d*ck and run head-long into college like a dry sponge ready to soak all of it up. You may end up being the smartest guy in the room, but there's still a f*ck-ton to learn about the world from people who have had vastly different experiences than you. And maybe there's a perspective on FUN HOME (or some other such work) that you haven't even thought of yet that may change you in a profound way. Girl...listen to Liza and just 'Say yes!'
And don't fear 40. It's been awesome. Just take your time getting there.
Fantod said: "I have no fear of being 40. Every year we are alive is a gift. I fear being stuck being nasty to people on the Internet when I'm 40."
I learned this in the opposite direction. We're not being nasty to you. We're being east coast to you. From like Philly up through Boston (and it may stretch further in each direction), it is basically an entire culture of ball busting. Where you pretty much engage in verbal throwdowns and insults, and expect the same in response.
When I went to my first strategy meeting for someone in SF, after coming up in the east coast AND the last of the old school newsroom environment, where people had cigarettes and alcohol in their desks, and I think I said something like "Surely we can come up with a press release that doesn't sound like utter bull****," the person whose idea I shot down, who grew up in Northern California and had never had anything she uttered met with anything but butterflies on her shoulder and sunshine, she was like shaken to hear anyone just completely dump on something she proposed that directly. And I considered that to be nearly a benign statement.
She confided what happened to her friend and boss, who was thankfully from Boston, and she was also completely unable to understand what the problem was initially, since her first reaction was like "And...?" But eventually we all got along once we realized that if I didn't consider her a friend, I wouldn't have insulted her at all, I'd've said nothing, and then after the meeting gone to other people and been like "Whoa, did you hear that nonsense?!"
And once she knew there had to be a degree of affection for there to be an insult, she eventually understood it. I'm not certain she ever liked it, but since the team had a lot of East Coast people, it was going to come up. So, there is a weird bubble in Northern California, where everyone is just creepily nice to one another, and the problem there is if you plan to engage with anyone who grew up anywhere else.
So I guess I'm saying Namo likes you, he really likes you? heh. Of course, I could be compleltey wrong.
We're just giving you the chance to sharpen your claws, Fantod! Jungle Red! Remember, nobody likes goody-two-shoes Joan Fonatine. Not even here sister.