Fun Home Previews- Page 9

[Kad]

Posted: 4/1/15 at 10:58am

At the Newman, Alison had a drafting table sort of upstage right, where she spent a lot of the show when she was not directly involved. As such, she was upstaged by virtually everything except her own musical moments.

Updated On: 4/1/15 at 10:58 AM

[SonofRobbieJ]

Posted: 4/1/15 at 11:03am

Whereas now, she is fully integrated and engaged in the action throughout, all to the betterment of the role and the show.

[bwayphreak234]

Posted: 4/1/15 at 11:11am

Based on the pictures I have seen, it looks like there are two walls behind the orchestra... If you are sitting behind the walls wouldn't you miss some stuff?

[broadwaybelter]

Posted: 4/1/15 at 11:26am

I was there last night, too. Sat in D 201 and felt that nearly any seat would allow optimal viewing. And to my delight, the house was VERY well sold.

I went in knowing the story and the music, but hearing it live is an entirely different experience. Judy Kuhn was heartbreaking.

I can't recommend this enough.

[bdn223]

Posted: 4/1/15 at 11:33am

I saw last night's performance, but before I get to my review I will answer everyone's seating questions. For anyone who is wondering what section would be best defined as the upstage/backstage seating it would be the 400s. My friend and I were seating in E405 and E407, which is one row behind the band. Was any of the action missed? I would say somewhat, but not enough to ruin the performance. Things missed from the section are Big Alision's work desk is situated in the front left corner of the 400s for most of the show, so I missed most of her facial expressions when she would say, "Caption....", and then are also looking at the back of the characters heads for the end of Edges of the World, and Flying Away.It did somewhat hurt Flying away as you are looking at the back of Big Alison and Medium Alison's heads, Little Alison did move around though. You could tell that everyone outside of Kuhn, Cerveris, and Malone was still getting used to finding their audience in the round, and I expect it to only get better as they do more performances
SPOILER****
I would say it actually made Edges of the World more powerful, as it makes you feel as if you are standing right there with Bruce when he is in front of the truck
END OF SPOILER*****

Onto what I thought of the show and I can honestly say I was pretty blown away. I went in only knowing only the lyric, "I'm gay, my dads gay, I became a lesbian cartoonist, and my father killed himself." I am happy that's all I knew, because this show would have been a tough sell for me otherwise, but it was worth the cost of the ticket. The staging was is cozy, and not in a bad way. By cozy, I mean it feels like you are at home, like you are part of the plot, despite the fact this is not a Hair, Godspell or Hedwig where audience participation is part of the show. I did not see the show at the Public where it was in a proscenium, but the show really soars in round. In my opinion this is because the driving plot force is internal, so being in the round invites the audience inside Alison's memories instead of having a proscenium clearing diving the audience from the performance. It also allows for some extremely intimate moments, which is Fun Home's strength.

Jeanine Tesori's score is inventively outstanding. Her mix of Irish folk, 70's disco, and show-tunes works perfectly for the production. Lisa Kron's book and lyrics are phenominal. I am not sure if I would say the book is necessarily better then Hargrove's for It Shoulda Been You. Now this is not saying that It Shoulda Been You is a better musical then Fun Home, but It Shoulda Been You is truly a book musical, while Fun Home is a piece of experimental theater.

The performances are great all around. Judy Kuhn is truly heart-breaking, and Cerveris is powerfully moving. Beth Malone is extremely grounded, which is what makes her performance so great, as being the "narrator" is a thankless role, where she can easily become lost in the shuffle, but presence remains known. Oscar and Zell are great as perfectly understand their role as comic relief, and know how to play to their audience. Roberta Colindrez brings a gravitas to a character that could easily be lost in the shuffle, and also made want to major in Joan. Joel Perez is fine, but he really has nothing to do except for a couple of quick scenes. My only real critique is Emily Skeggs, Medium Alison, is not completely comfortable in the round, and unlike the rest of the cast who moves around to play to the house, Ms. Skeggs remains static. It probably will improve as the run goes on, and she becomes more comfortable, but let it be know I am not saying it was a bad performance. I would say Ms.Skeggs was giving a great performance, while the rest of the cast is truly amazing. Sydney Lucas is the true star of the show though. The misguided innocence she beings to the role is remarkable, and her performance of Ring of Keys brought me to tears.

Overall, I'd definitely give the show an A, but I am not sure about its Tony prospects. The show is an extremely tough sell for New York, let alone the rest of the country. I honestly cannot see road producers voting for a show that is about a father and daughter coming out to each other. But I will say I do see Fun Home, competing with King and I, On the 20th Century, and On the Town, for the technical and creative awards. I could see Fun Home, pulling a ONCE and having a surprise sweep come Tony night. (Once was expected to win Best Musical, but no one expected it to pick up 8 statues, especially in the technical catagories, where Spiderman, Ghost, and Follies, were clearly superior)

[Cupid Boy2]

Posted: 4/1/15 at 11:54am

Given some of the comments that are being made about admiring Fun Home rather than loving it, is this a score that would be helpful to know going into it? I can't decide if it would be best to maintain the element of surprise, or if it would be best to begin absorbing the writing if it's more complex.

[macnyc]

Posted: 4/1/15 at 12:00pm

I would recommend going in cold. It is complex, but easily graspable, and I think the element of surprise/amazement adds to the experience.

[MorningGlow2]

Posted: 4/1/15 at 12:08pm

I went into this without context or knowing any of the songs except Ring of Keys (which I heard through the website) and say it was totally worth the surprise.
The storytelling is masterful enough to carry you through without any pre-show research.

You'll have plenty of time to digest after the show. Still thinking about it since having watched it 3 days ago.

[Cupid Boy2]

Posted: 4/1/15 at 12:42pm

Excellent, I'll hold off then. Thanks!

[gypsy101]

Posted: 4/1/15 at 1:03pm

Every musical I've ever seen, I've heard the score before, since I live in Michigan and there's not always quality theater around. I've never felt hurt by it when I eventually see a production.
The score of Fun Home didn't take time to grow on me, per se, although I believe it is Tesori's most difficult and most rewarding (barring Violet, maybe). I'm glad I got the album last year so I'll know the score when I finally see it next month.

[JBroadway]

Posted: 4/1/15 at 1:14pm

" is this a score that would be helpful to know going into it?"

I'm personally kind of torn on this one. I went in having heard the score already, and there were times when I wish I had been a bit more surprised. On the other hand, it took me 2 listens to the cast album to warm up to the score, so it's possible that I wouldn't have liked the score as much if I had gone in cold.

[EricMontreal22]

Posted: 4/1/15 at 4:25pm

Gypsy, I think Caroline, or Change is a more "difficult" score than this--both are easily my fave Tesori scores (though I do love Violet,) but I think Fun Home has more melodically that can easily be grasped on first listen than Caroline (partly due to Caroline being basically through-sung and Fun Home still pretty much relying on traditional song format.)

Bdn, I enjoyed your review!  I'm curious--is the show really a piece of "experimental theatre?"  I mean it is not a linear book show, but I am not sure I'd call the work, as written, a huge departure than many musicals we've seen since 1970 and Company (I'm talking about form not content.)

Also...  Irish folk songs?  I'm not disagreeing, I just have no idea where you get that reference, and am curious...

Updated On: 4/1/15 at 04:25 PM

[indytallguy]

Posted: 4/1/15 at 4:26pm

Totally agree that Caroline is a more difficult score overall. Fun Home has many songs that have standalone melodic power.

[GilmoreGirlO2]

Posted: 4/1/15 at 5:24pm

I was watching an interview with Sam Gold and he was talking about how, in order for the musical to not feel like a memory piece where everything doesn’t feel present and in-the-moment, he wanted Big Alison to be in the middle of everything with everything else floating around her (but, she is very much there). He then had to figure out how to make that work on a proscenium stage for the off-Broadway run. So, to hear that the staging in the round only enhances the work makes sense when considering that it seems the motive behind Gold’s staging always would have worked better in the round. Funny to think that some of us (myself included) were worried about how the show would translate in the Circle in the Square space only to find out that it seems Gold’s direction was always meant for such a stage in the first place.

I think there are some shows where knowing the music beforehand can elevate one’s enjoyment when seeing it live (and, occasionally, vice versa – where knowing a cast recording so well can be a hindrance to enjoying the show in the moment). However, I think “Fun Home” could be equally enjoyed either way. I saw the show at the Public not knowing any of the music and fell in love with each of the songs upon first listen. On the other hand, the cast recording is an excellent capture of the show and the live performance really only enhances that. I would say you would be safe either way with “Fun Home” – knowing the music or not.

[EricMontreal22]

Posted: 4/1/15 at 5:46pm

I have no doubt that cutting the song works for the overall piece, but I'm surprised to hear many people felt Al, For Short was their least favourite track on the cast album.  Granted, one reason I like the moment is it reminds me of one of the sweeter memories in the graphic novel.

[indytallguy]

Posted: 4/1/15 at 6:25pm

I feel like Al, for Short works better in person as Sidney really acts it out in a manner that makes its feel less pedestrian than it did for me on the cast album.

[LimelightMike]

Posted: 4/1/15 at 7:50pm

Would sitting in the middle of a row in the 200's be decent, with regard to taking everything in? Around the late-teens and 20's/30s? I'm just trying to think in terms of perspective and potential sightlines of the rest of the stage. Or, maybe aim for an aisle (closer to the 100's)? Thoughts?

[dramamama611]

Posted: 4/1/15 at 8:12pm

There is no reason to be on an aisle.  Middle of 200s will be great.  I was only a few seats off of that.

[AlanR2]

Posted: 4/1/15 at 8:56pm

Hi all

Looks like my son has a work commitment and will abandon me this Saturday night.  April 4.  I have an extra ticket (E 125) that I am happy to sell for half of my discounted price ($50) if anyone is interested.  Just send me a message and we can arrange.  REALLY looking forward to this one.

 

Alan

[mfaye9]

Posted: 4/1/15 at 8:59pm

I'm looking to buy student tickets. J116-J134 and J115-J128 are available. Recommendations?

[luvtheEmcee]

Posted: 4/2/15 at 4:07pm

You guys should read this: http://the-interval.com/ints/jt/

There's a bunch of material about Fun Home, but the whole thing is terrific. 

[LimelightMike]

Posted: 4/2/15 at 7:20pm

Anyone sit in A-218 & 220 and/or 219 & 221 and can offer their thoughts?

[VotePeron]

Posted: 4/2/15 at 8:06pm

I'm sure either are great seats!

[indytallguy]

Posted: 4/2/15 at 11:20pm

Just came back from this evening's performance and will echo those who have said the being in the round enhances the wonderful production from downtown.  We sat in G102 and G104 (behind the door that is periodically present) and it was fine.  I really cannot imagine a seat anywhere that is bad.  The cast plays to all sides of the house throughout and key set pieces are stationed in different locations.  The performers' movement mostly feels organic, but there are some moments when individual performers seem to be a tad robotic in shifting their positions. I imagine that will become more natural as the previews go on.

 

Everyone is giving top performances and in fine voice despite some being under the weather a bit from what I heard.  Days and Days is even more heartbreaking with Kuhn unleashed from the table where she was seated at The Public. Her movement and physicality really echo the feelings in the song. The short scene that replaced Al For Short works well.  Telephone Wire's staging brings it to life in a new way. Bruce's final number and the closing scene and song seemed even more powerful here.  Ring of Keys and Changing My Major to Joan both play as glorious anthems. And Beth Malone definitely is more of a gravitational force in this show because of the staging and blocking.

 

 

[RachelO]

Posted: 4/3/15 at 10:11am

Question! I'm seeing the matinee on April 25th with some friends, one of whom expressed concern that the children (particularly Sydney Lucas) may take matinees off. I'm not sure if there is any truth to this, but I thought that it would be worth checking whether anyone has heard anything along these lines. Considering we'll be there six days after opening, I'm hoping that the potential Tony buzz will be enough to keep anyone from missing a performance! :)