Fun Home at Lyric Rose Theatre

By TJ Fassler

I sometimes fear I am becoming too nitpicky as I get older, but then I see a production like Fun Home and trust that my personal tastes, preferences, and experiences are perfectly valid. In short, Fun Home is one of the finest community theatre experiences I’ve seen in recent years. I am not saying everything was the best thing ever, I’m saying that everything seemed to be working in conjunction to convey the story and intent throughout the entire production.
This was my first time seeing a show in this particular venue, the Nevada Theatre and it was wonderful. Much like the Woodland Opera House and State Theatre, it is a vaulted ceiling so it feels expansive, but seats don’t go super far back, so it also feels intimate. The walls were painted with murals that were a treat themselves to observe preshow. There was access to snacks and drinks that were permitted inside which was appreciated as I got an intermission coffee to make sure I’d be awake for the drive home. For the most part I’ve avoid plot elements because I loved watching the show with completely fresh eyes and recommend doing so too. That is unless the uncertainty is what is holding you back. If so, ask me or check it out online and then go see this show!
The set was very thoughtful (which is a word that could be used to describe just about everything). There was a platform build up to create a second floor that was home to the main character, Alison’s present day studio, the father’s past study, and most importantly, the live band. Led by Nick Roten, they were fantastic. The songs themselves were great, but there was also a lot of accentuating moments in the show. The platform was hollow underneath and thus stored some roll out seats on one side and a bed and stand on the other, the go to location for Medium, college age Alison. Even though we could see them, I liked it. It made it feel like it was a live experience. There were lights out for scene changes, but their placement help facilitate smooth and quick transitions. The costumes felt period, but not artificial. The lighting was also thoughtful with specific moments to cover scene changes, to accentuate dramatic moments, and help convey serious subject matter without going overboard. I also loved the trust for the audience by the directors. For a phone call, there wasn’t a forced prop or even using hands like holding a phone, they stood and talked facing out. We understood that they way they were able to communicate was a phone call. Similarly with a car ride. The focus wasn’t on steering, but the activity inside the car. Speaking of activity, so many scenes started with the actors starting their activity in the dark which carried the energy of the moment into lights up. Excellent little touches.
And if that all wasn’t enough, the performances were magnificent as well. It’s worth noting that a few of the parts are double cast, and I will share some of the specifics when needed. Starting with the anchor of the show, Ana Lovric played Alison so enjoyably. I loved the ease and effervescence with which they stride through the first act collecting and sharing these memories of their smaller and medium version (how they’re described in the cast list). Ana gently smirks and reacts to all of these moments and then just as strongly is engaged and a part of their own attempts to claim their identity near the end of the show. Sydney Tevault played Helen, Alison’s mom, and like many characters in the show (but intentionally not all), played a more subdued, distant role in the first part, and then believably bubbled over as Helen raised the curtain on hidden goings on as well as shared her own struggles in hopes of protecting Alison from some similar mistakes.
Dakota Laurie played the medium, college aged Alison. She very believably waged an internal struggle and then beautifully (and with joyous humor) proclaimed a new sense of self in her song after a good night’s “rest.” Her opposite in those scenes was Joan played by Amber Busse and I adore that that the writers of this show saw fit to have such a likeable, supportive character without the need for forced conflict or misunderstanding. Joan was such a positive vibe and Amber made her such a delight anytime she was onstage.
I really enjoyed the performance of Collin Seaman who had the difficult task of playing various characters that we are meant to notice their presence, but then also let their memory fade off as they were merely one of many. I thought he did a great job of this in addition to leading the fun, catchy number (with sparkly vests no less) leading into intermission which had me humming at the concessions stand even with its darker ulterior meaning. His characters were primarily connected to Alison’s dad, Bruce, played masterfully by David Endacott-Hicks. Just as his character constantly reminds himself that he still has gas left in the tank, he still can charm others, that motif is constantly proven true in David’s performance which flits between endearingly beguiling and mildly unstable. I think he absolutely fully nailed all the nuance of Bruce and the reason that Alison finds it so important to find balance even in her understanding and reckoning of her father as much as herself.
My MVP of the show is Tennessee Carver who played small, young Alison. She was brilliant from the moment she took the stage. Her singing was incredible along with appreciating how much of the show has unique timing to start and end phrases (which is another kudos to the band). Her scene work was captivating and her scenes appropriately carried different energies and intensities depending on the circumstances and who she was with. She was a part of one of the most crowd pleasing numbers, inviting people to “Come to the Fun Home” which was sung alongside Alison’s brothers, who also did a great job. She also was able to carry an entire song with her expressions and vocal intentions with very limited choreography (rightly so) as she stopped to notice a woman with a “Ring of Keys.” It’s also such a small thing, but the way she subtly drifted off to sleep while her father sang the lullaby “Pony Girl” was a nice touch.
So yeah, I enjoyed myself. Highly recommend making the drive out to see the show. Would love to hear others’ experiences with Fun Home, either this production or others. The show is running until June 14. For more information or tickets, visit: https://lyricrosetheatre.com/tickets