Review by Yasmin Elahi
PIP Theatre’s latest show is the Jeanine Tesori musical, based on the graphic memoir by Alison Bechdel. It focuses on Alison’s complex relationship with her father, through flashbacks to her childhood and teenage years. The musical cleverly intertwines the present-day Alison into flashback scenes, alongside the younger iterations of herself.
Director Sherryl-Lee Secomb used the malleable stage area that PIP Theatre offers to great effect. Her direction was dynamic, sensitive and catered to audiences on all three sides of the stage. Stillness was used effectively in the poignant moments of the show and the overlaps and transitions between flashbacks were handled with meticulous detail and creativity.
Musical direction by Benjamin Richards was sublime. Richards was fortunate to work with a cast brimming with talent and guided their exceptional vocal performances, along with the band.
Choreography by Grace Clarke was witty and energetic. The number ‘Come to the Fun Home’ was brimming with vitality and a much-needed uplifting moment.
Set design by Breanna Gear was incredibly creative. The floorboards that transitioned from real wood to cartoon doodles and the signature at the corner of the stage was a clever nod to Alison’s career as a cartoonist. The placement of furniture within the space and the large white outline of a house, concealing the orchestra, was conceptually well thought out. This set design was a true example of how a set can enhance the action on stage and become another character in itself.
Lighting design by Liam Gilliland was subtle. The lighting shifts between present-day Alison and the flashbacks discreetly focused the audience’s attention. The standout lighting moment of the show was in the number ‘Edges of the World’, evoking truck headlights. A powerful visual moment that underscored the action and finality of that scene.
Aurelie Roque played present-day Alison with honesty. Her performance was raw, vulnerable and commanding. Vocally, Roque was immaculate. The control and precision with which she delivered every note was a privilege to watch. Her comedic timing and delivery of dry witty lines was spot on and she welcomed the audience in to experience this journey with her.
Micheal Enright was charming as the awkward teenage Alison. Their vocal performance was commanding and their comedic timing was hilarious. As always, Enright did not disappoint in this role.
Theo Hunt was easily the star of the show in the role of young Alison. A dynamic performer with huge stage presence, their acting ability and vocal performance was faultless. Their rendition of ‘Ring of Keys’ was stirring.
Deidre Grace and Adam Bartlett played the role of Alison’s parents. Their chemistry was believably strained and the turbulence of their relationship was realistic. Both performed emotionally charged solos that stopped the show. Grace’s performance of ‘Days and Days’ was brimming with heartbreak and pent-up emotion. The character’s cathartic release during this song was portrayed authentically by Grace. Bartlett’s performance of ‘Edges of the World’ was haunting. The subject matter of the song is harrowing and Bartlett’s performance was chillingly realistic.
Fraser Goodreid and Jaden Armitage played Alison’s younger siblings. Both exuded child-like energy and innocence and lit up the stage.
Emma Erdis and Daniel Kirkby round out the cast as the love interest of Alison and her father, respectively. Erdis’ calm and self-assured nature complemented Enright’s nervousness and their rapport was extremely believable. The relationship between Kirkby and Bartlett was more complex, given the intentional age gap of their characters, and both handled the difficult interactions with disturbing authenticity.
Overall, PIP Theatre’s production of ‘Fun Home’ was a near flawless retelling of the Jeanine Tesori musical. The show balanced humour, darkness and overwhelming raw emotion with meticulous care and the stellar cast committed wholly to their characters and the emotionally challenging scenes within which they were placed. The only criticism was that the sound was unbalanced. At times, the orchestra swallowed the singer’s voices, making them difficult to hear. But this is likely a simple sound adjustment and did not take away from an excellent show that will linger in audiences’ minds.
Image Supplied
תגובות