Review: FUN HOME - Royal Exchange Theatre (09/07/26)

Bechdel biography is bloomin' brilliant, will warm and break your heart in equal measure

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It's been a neat 20 years since Alison Bechdel's original graphic novel significantly altered the literary and pop-culture landscape, legitimising the entire medium of graphic novels, whilst also bringing more substantial queer stories into the mainstream. Fast forward another 7 years and Jeanine Tesori, riding on the success of hits like "Thoroughly Modern Millie" and "Shrek the Musical", would team up with Lisa Kron to adapt the autobiographical work into a new musical, first premiering at the Public Theater before opening at Circle in the Square, winning 5 Tony Awards and being nominated for a Pulitzer Prize in the process. It feels almost criminal that a primary lesbian protagonist hadn't existed in musical theatre prior to this, so already this felt like a long overdue series of doors being swung open in victory.

Following the life and times of Bechdel over the course of childhood into early adulthood, largely narrated by a 43-year-old Alison from her writing desk, "Fun Home" follows a fictionalised version of the writer, portrayed by three different performers, with the story being told by means of a series of non-linear vignettes. We explore her earliest signs of gender nonconformity, initial hints of her sexual awakening, and the experiences and encounters that formed her as a person, including her fragmented relationship with her closeted homosexual father, and how each of their respective internal struggles affect those around them.

It's a testament to the sophistication of Kron's writing how, in spite of how seemingly fragmented the story is, we never lose our sense of where we are, or the journey taken by Alison, her family, and her first ever lesbian love interest Joan. In many ways, the organised chaos of the narrative perfectly reflects the disarray experienced by Alison herself; her story is rarely straightforward, and the various twists and turns, jumping from her ten year old self, to her early college years, and back again, see the "current", fully realised iteration of the character trying to piece together the jumbled puzzle pieces that make up her own personal odyssey, largely by means of captioning slides in her graphic novel, seemingly being written in real time.

And although the script itself stands up perfectly well on its own, the score written between Kron and Tesori adds so much extra depth to an already terrific piece, acting as the emotional engine room of the show throughout. More than anything, it gives us glimpses into our principal protagonist's psyche, with "Ring of Keys" laying bare small Alison's very first hint of her latent homosexuality (performed absolutely superbly by Harriet O'Shea), and "Changing my major" seeing medium Alison fully embracing her sexuality after her one night involving a Joan-shaped epiphany. To alleviate all of this, we have the uplifting, immensely fun "Come to the Fun Home", in which our three exceedingly talented young company attempt to create a new commercial for their family funeral home, a number which rightly received a rapturous response on the day.

Perhaps the most devastating of all is "Telephone wire", in a moment of unrealised clarity and closure between adult Alison and her internally tormented father Bruce (expertly portrayed with refinement and maturity by Nigel Harman), in what was their final car ride before his ultimate demise. Having already spent more or less every minute on stage, effortlessly slipping in and out of scenes like a phantom, Jodie McNee proceeds to bring every member of the audience to tears, wearing her heart on her sleeve, unabridged, in this moment of tenderness yet anguish at a connection never fully realised. Director Sarah Frankcom has shown with aplomb that she understands emotional nuance, and the simplicity of how this scene is staged elevates its impact, and you can hear a pin drop as McNee figuratively drives a dagger through our hearts.

In addition, Alex Young as mother Helen showcases every iota of dynamism yet distinct vulnerability at her disposal, in a visceral performance that truly comes to a head with the soul-baring number "Days and days", during which she displays some of the finest acting through song of the night. And completing our trio of Alisons is Alice Audrey O'Hanlon, whose effervescence and excitement at her character's newly discovered sense of self will no doubt have resonated strongly with multiple generations. There was a sweetness, yet self-assuredness about how she navigated the subtleties of the role, and her performance simply cannot go without the highest possible commendation.

After something of a solid yet unspectacular first half of the 50th anniversary celebration season, it feels like the Royal Exchange have struck gold with this most intimate, profoundly human of stories. "Fun Home" is a triumph from start to finish, a poignant ode to self discovery and acceptance, and how embracing one's identity rather than trying to suppress it can set one free, a message the timing of which, in a time of so much uncertainty, feels like it could not be more apt.

★★★★★ (5*)

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"Fun Home", runs at the Royal Exchange Theatre until the 1st of August (tickets)

{PR/Gifted tickets}