Fun Home the 90 minute no intermission (is there a better theater term than that?) show based on the autobiographical graphic novel by Alison Bechdel gets a fantastic staging at Theater Latté Da. A favorite of mine since I saw a performance of “Ring of Keys” on the 2015 Tony Awards and began listening to the Cast Recording. I saw the tour at the Orpheum Theatre in 2016, and have been anxious for someone to do it in town. The wait was worth it, Theater Latté Da has assembled a stellar cast particularly the trio of actors playing Alison at three different ages. That performance at the Tony’s of “Ring of Keys” that so captivated me that I began listening to the cast recording before even seeing the show, I didn’t think could be matched. But get your baseball gloves ready because Eve Scharback as Small Alison knocks it out of the park! It’s just one of several sublimely perfect moments in the show, but it’s perhaps the most powerful, when Alison clicks with herself. The penny drops and she doesn’t know what it all means yet, but she sees someone, an adult, and she recognizes herself in that stranger. It’s a moment of wonder, joy, and discovery and somehow, a very young actress, conveys all of that in her swagger and her bearing and her just right way of performing the song.

Fun Home is narrated by the Adult Alison who is a cartoonist. She’s turning her memories into a graphic novel and as she explores her past as one of three kids growing up in a house like a museum that is also a funeral home, known in the family as Fun Home. She wrestles with what is real as she doesn’t trust memory. Part of that is because our perspective changes at different ages. Our understanding of what might really have been happening becomes clearer, and new information gained later in life throws a different light on old memories. She states early on “My Dad and I both grew up in the same small Pennsylvania Town, and he was gay, and I was gay, and he killed himself, and I became a lesbian cartoonist”. That sums up what this musical explores, the ways in which two people who are in many ways similar, turn out so different because of the choices they made, and partly because of the times in which they were born it should be acknowledged. Bruce, Alison’s father lived his life in the closet and it ultimately destroyed him. Alison, came out, lived as her authentic self, and it made all the difference. It’s a powerful message in these dark days when we have taken such huge steps backwards as a society. One can see the temptation again to protect yourself by hiding who you are, this speaks to the importance of living your truth.

There are so many moments from this cast that blew the audience away. First up, the three juvenile actors playing Small Alison, Eve Scharback, her brothers Christian and John played by Truman Bednar and Brock Heuring practice a pretend commercial they are writing for the Funeral Home. “Come to the Fun Home” is a song that could go off the rails if any one of the three weren’t up to the task, but the three of them bring the house down, it’s so funny and fabulously choreographed by Katie Rose McLaughlin. Another favorite song is when Monty Hays (who is a The Stages of MN favorite, full stop), playing Medium Alison performs the song “Changing My Major” after their first sexual experience with college girlfriend Joan, played perfectly by the always great Emma Schuld. Lastly, I want to mention a song that has always tugged at my heart which is “Telephone Wire”. It takes place between Adult Alison played by Sara Masterson, who is standing in during this scene that actually took place on a car ride between Medium Alison and her father Bruce, played by Shad Hanley. There is a constant refrain “Say something, talk to him. Say something, Anything.” I think parents and children can both relate to that moment, when you want to be able to say something important to the other person and can’t find the moment or the courage. Adult Alison has stepped in because this is the last night with her Dad and the following lyrics explain why this moment is so important that she has inserted herself into the past to see if she can discover something she missed when she was young.

“Telephone wire, make this not the past.
This car ride, this is where it has to happen.
There must be some other chances.
There’s a moment I’m forgetting, where you tell me you see me?
Say something, talk to me.
Say something, anything.
At the light, at the light.
This can’t be our last-.”

“Telephone wire” Lyrics by Lisa Kron

Masterson is urgent and completely compelling in this heartbreaking moment where she is in the present pleading for a chance at a do over, but it isn’t that kind of show. She can reinterpret and reexamine a memory but she cannot change the past. Hanley is superb as Bruce, there are moments I hated how he behaved, partly because I hated when I behaved that way in my own life. Little parenting moments that every parent has where you didn’t handle things like you would if you were thinking about it rather than just living your life. But a lesson we can take from the show is that we cannot change the past, we have to move forward and move on.

Fun Home runs through May 4th at Theater Latté Da in North Minneapolis. I absolutely loved this production and I’m going to see it a second time if I can. Every aspect of the production is inspired, but I do want to point out specifically the Scenic Designer Eli Sherlock who has crammed every nook and cranny of the stage and under the stage with old furniture. I recommend you get your tickets early I can see this selling out performances and besides, you might want to see it twice as well. For more information and to purchase tickets go to https://www.latteda.org/fun-home

Now more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, theater companies need you and we need them. Buy tickets to shows, go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our theaters whose funding is under attack for promoting inclusion, equality and diversity. In short, theaters are being threatened for sharing stories that reflect our countries cultural and racial diversity.

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