2,018 posts
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Post by distantcousin on Jun 25, 2018 9:29:31 GMT
Well, this left me a bit underwhelmed last night. After all the anticipation I had high expectations and was a tad disappointed. Apart from maybe a couple of songs the music didn't really cut it for me. The performances were a mix bag. Small Alison was very good and sang really well but the other two young children not so much. The number Come to the Fun Home sounded terrible, it's supposed to be a fun number but the vocals were all over the place with Christian and John totally off key, they ended up shouting the song more than singing it. Jenna Russell does a good job as the mother but it's really a thankless part. Middle Alison and the father were a bit weak but hopefully they will improve before the opening night. I like the set and the way the use the revolve. The exploration of sexual identity has a few touching moments, but overall this was an unsatisfying, and at times slightly boring, experience for me. TBH, I think Theatreboarders have hyped it up somewhat...
The mother role is totally thankless and largely forgettable.
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1,827 posts
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Post by stevej678 on Jun 25, 2018 9:31:42 GMT
I can relate so much to everything Steve wrote about this, especially about the standing ovation. There was simply no way I could remain seated at the end of this. Whereas I would usually be looking round waiting to see if anyone else was rising to their feet, I didn't care if I was to be the only one standing (I wasn't; a full standing ovation ensued). What an absolutely beautiful, deeply moving, exquisite and heartfelt piece of theatre this is. Some spoilers may follow... There's so many strands of the story that it's possible to relate to and such detailed, pitch-perfect performances which bring them to life. Eleanor Kane as Medium Alison is surely a leading contender for an Olivier. She captures the gawky awkwardness and self-consciousness of adolescence, as well as coming to terms with her own identity, quite incredibly, with her encounters with Cherrelle Skeete (with whom she shares a warm, playful chemistry) providing plenty of laugh-out-loud humour. I was surprised at how genuinely funny, joyful and liberating Fun Home often was, from the Motown-infused Come To The Fun Home to the glorious anthem to sexual awakening that is Changing My Major. It's far from a bleak viewing experience and the shifts in mood make the impact of the darker events captured in Alison's ruminations all the more potent and powerful. Harriet Turnbull as Small Alison (who alternates the role with Brooke Haynes) has such a beautiful voice, her rendition of the ebullient Ring of Keys was the first moment in the evening where I felt myself welling up and it certainly wasn't the last. Zubin Varla gives a magnificently intricate and layered performance of a complex, fragmented and enigmatic character in a contradictory state of denial. That we feel sympathy for him despite his actions is much to Zubin's credit. He's another cast member for whom Olivier recognition would be richly deserved. Jenna Russell has less to work with as the underwritten mother but leaves an indelible impression with Days and Days, while Kaisa Hammarlund invigorates her grown-up Alison with an unflinching naturalism, lingering in the shadows for much of the evening as she overlooks and narrates the story before stepping firmly into the action to recall a devastatingly poignant car ride with her closeted father ("Telephone Wires") where the two pointedly fail to connect. This is an emphatically original musical then about initiations and discoveries, both wittily irreverent and emotionally compelling, which captures the poetry of everyday surprise in the most magical, beautiful way. It left me standing to applaud moved to tears yet leaving the Young Vic bouyant and invigorated. Caption. I'm changing my major to Fun Home. Five stars. |
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330 posts
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Post by RedRose on Jun 25, 2018 10:44:04 GMT
I can relate so much to everything Steve wrote about this, especially about the standing ovation. There was simply no way I could remain seated at the end of this. Whereas I would usually be looking round waiting to see if anyone else was rising to their feet, I didn't care if I was to be the only one standing (I wasn't; a full standing ovation ensued). What an absolutely beautiful, deeply moving, exquisite and heartfelt piece of theatre this is. Some spoilers may follow... There's so many strands of the story that it's possible to relate to and such detailed, pitch-perfect performances which bring them to life. Eleanor Kane as Medium Alison is surely a leading contender for an Olivier. She captures the gawky awkwardness and self-consciousness of adolescence, as well as coming to terms with her own identity, quite incredibly, with her encounters with Cherrelle Skeete (with whom she shares a warm, playful chemistry) providing plenty of laugh-out-loud humour. I was surprised at how genuinely funny, joyful and liberating Fun Home often was, from the Motown-infused Come To The Fun Home to the glorious anthem to sexual awakening that is Changing My Major. It's far from a bleak viewing experience and the shifts in mood make the impact of the darker events captured in Alison's ruminations all the more potent and powerful. Harriet Turnbull as Small Alison (who alternates the role with Brooke Haynes) has such a beautiful voice, her rendition of the ebullient Ring of Keys was the first moment in the evening where I felt myself welling up and it certainly wasn't the last. Zubin Varla gives a magnificently intricate and layered performance of a complex, fragmented and enigmatic character in a contradictory state of denial. That we feel sympathy for him despite his actions is much to Zubin's credit. He's another cast member for whom Olivier recognition would be richly deserved. Jenna Russell has less to work with as the underwritten mother but leaves an indelible impression with Days and Days, while Kaisa Hammarlund invigorates her grown-up Alison with an unflinching naturalism, lingering in the shadows for much of the evening as she overlooks and narrates the story before stepping firmly into the action to recall a devastatingly poignant car ride with her closeted father ("Telephone Wires") where the two pointedly fail to connect. This is an emphatically original musical then about initiations and discoveries, both wittily irreverent and emotionally compelling, which captures the poetry of everyday surprise in the most magical, beautiful way. It left me standing to applaud moved to tears yet leaving the Young Vic bouyant and invigorated. Caption. I'm changing my major to Fun Home. Five stars. I totally and wholeheartedlly agree! I booked a ticket to see it again on my next trip to London in August. It doesn't happen very often I am so much moved by something that I have tears in my eyes and it happened here, also standing ovation is not something I do very often. The writer of the book and lyrics was in the audience sitting behind us and she loved it as well- we happy lucky dippers ending in row D middle. |
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185 posts
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Post by MoreLife on Jun 25, 2018 13:23:35 GMT
This is an emphatically original musical then about initiations and discoveries, both wittily irreverent and emotionally compelling, which captures the poetry of everyday surprise in the most magical, beautiful way. It left me standing to applaud moved to tears yet leaving the Young Vic bouyant and invigorated. Caption. I'm changing my major to Fun Home. Five stars. That's a most eloquent review of the show, and I very much agree with your analysis and share the emotional response you've had to it. It was the build-up during the whole hour and 40 minutes that got to me, in the end. Yes, there were several really powerful moments throughout, but I was so keen on taking in as many details as possible that I pretty much held it together... until the very end! Guess I'll be seeing you in class, Steve - I can do with majoring in Fun Home  |
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146 posts
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Post by lou on Jun 26, 2018 10:49:52 GMT
There will a ticket on the selling thread for this shortly for this Saturday’s matinee as I can’t make it.
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716 posts
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Post by theatre-turtle on Jun 26, 2018 23:24:34 GMT
Absolutely stunning piece of theatre. Moved me to tears in several parts. Gorgeous musically and lyrically and full of wit and charm. 5/5 for me.
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Post by Deleted on Jun 26, 2018 23:44:54 GMT
I do not think Helen, the mother is underwritten. It reflects the role she has been relegated to in her own life … "And no one clocks the day you disappear"
Hence the warning she offers at the end of the heartbreaking Days and Days:
"Don't you come back here
I didn't raise you
To give away your days
Like me"
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185 posts
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Post by MoreLife on Jun 27, 2018 11:57:46 GMT
I do not think Helen, the mother is underwritten. It reflects the role she has been relegated to in her own life … "And no one clocks the day you disappear" Hence the warning she offers at the end of the heartbreaking Days and Days: "Don't you come back here I didn't raise you To give away your days Like me" I've had the same thought, jbc. In so many ways, Helen is relegated to being in the background, as she is a minor character in her own life, as well as in Alison's - at least the way this is told on stage - whereas Alison's relationship with her father is clearly central to the show. Every time we do see her take centre stage, she is essentially going through what her "social role" as a woman trapped in an unhappy marriage prescribes, whilst seeking some respite from her "duties" as Bruce's wife in her music and acting. She has "given away" her days and clearly has to deal with regret and anger, etc. Alison Bechdel has explored her relationship with her mother in a lot more detail in her other graphic novel "Are you my mother?" - "Fun Home" was always meant to be more about her analysing her relationship with her dad and what his death meant, etc. From reading "Are you my mother" I got the impression that especially through childhood and adolescence Alison and her mum weren't particularly close and I think that distance and difficulty to communicate are what inform Helen's portrayal in "Fun Home" on stage. |
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914 posts
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Post by karloscar on Jun 27, 2018 13:22:21 GMT
There is more about Helen Bechdel in the graphic novel of Fun Home than in the musical,but you get a much clearer picture of her and Alison's relationship in Are You My Mother? Bear in mind that Bruce had been dead for two decades before it was written, and Helen was very much alive until shortly before the musical was written, so it's easier to be honest and candid about someone who's no no longer alive.
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330 posts
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Post by charliec on Jun 27, 2018 16:20:13 GMT
Looks like they've added more lucky dip tickets across all dates if anyone was looking for cheaper seats
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904 posts
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Post by lonlad on Jun 27, 2018 23:43:55 GMT
5 stars so far from The Stage, Whatsonstage.com, and The Arts Desk .... let's hope more to follow. Quentin Letts there tonight with a pretty young male which was surprising -- not his son, one assumes, but who knows?
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1,570 posts
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Post by showtoones on Jun 28, 2018 0:18:35 GMT
I wonder when they will announce the transfer to the West End. I assume they want it to happen ASAP
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630 posts
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Post by jamb0r on Jun 28, 2018 8:30:21 GMT
Just noticed TodayTix are now doing a £20 lottery for this. Probably a good tactic on their part, I’d imagine remaining tickets are likely to be scarce after the reviews get out today.
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294 posts
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Post by dani on Jun 28, 2018 9:06:42 GMT
5 stars so far from The Stage, Whatsonstage.com, and The Arts Desk .... let's hope more to follow. Quentin Letts there tonight with a pretty young male which was surprising -- not his son, one assumes, but who knows? Now also 5* from Time Out and The Upcoming. |
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1,743 posts
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Post by fiyero on Jun 28, 2018 10:03:52 GMT
Looks like they've added more lucky dip tickets across all dates if anyone was looking for cheaper seats I spotted that but didn't like the waiting until the very last moment when I went. They have added a few more (what I assume are) restricted view seats in the upper level right by the stage so I went for one of those instead.
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5,183 posts
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Post by Being Alive on Jun 28, 2018 10:13:06 GMT
Looks like they've added more lucky dip tickets across all dates if anyone was looking for cheaper seats Just grabbed one for a second visit. Means I'll have seen it twice for #20 - god lvoe the YV |
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406 posts
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Post by MrBunbury on Jun 28, 2018 12:21:10 GMT
Saw this last night and while I didn’t think it’s the best thing I’ve ever seen, it’s really quite beautifully done in places. Think I was helped by being dead centre of row D (I was a TodayTix booker for those unsure about where they might be sitting) so was upclose and in eye line of the actors. Won’t give anything away but Jenna Russell’s solo was particularly emotional, as was the car ride near the end. And yes, as others have said the set comes to life at one point! I completely agree. I saw it on Tuesday night. It was nice and moving, although not one of the best things I have seen. Jenna Russell is great! It is actually the first time I see her in a musical since Mr Burns was an amazing oddity that does not fit in any description. |
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2,452 posts
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Post by theatremadness on Jun 28, 2018 13:05:32 GMT
So currently:
5* in The Stage, What's On Stage, Telegraph, Independent, Time Out, BroadwayWorld, Arts Desk, LondonTheatre
4* in The Guardian, The Times, The Standard
Going tonight and excitement is currently the understated emotion of the year.
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Post by Deleted on Jun 28, 2018 13:12:44 GMT
I will be patronising this establishment this evening. Then we'll find out if it deserves 5 stars or not.
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2,018 posts
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Post by distantcousin on Jun 28, 2018 13:35:16 GMT
It is the sort of musical critics will cream themselves over. |
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Post by littlesally on Jun 28, 2018 14:02:43 GMT
There tonight too! I saw it in previews and it was perfect!
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Post by Deleted on Jun 28, 2018 14:30:35 GMT
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153 posts
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Post by liverpool54321 on Jun 28, 2018 16:55:33 GMT
Also going tonight having managed to pick up a front row return yesterday.
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Post by Deleted on Jun 28, 2018 18:15:18 GMT
Good to see such great reviews, it’s a score that works dramatically rather than the collection of songs that too often characterise new musicals. Plus it treats its audience as adults rather than those that have dumbed down plots that barely engage. It’s great there are so many family musicals having success but it does seem to have infantilised the genre. As well as having the Caroline or Change transfer Tesori has what sounds like a fascinating show on in San Francisco, written with David Henry Hwang, www.sfchronicle.com/performance/article/Curran-s-Soft-Power-by-David-Henry-Hwang-13017764.php |
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1,570 posts
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Post by showtoones on Jun 28, 2018 19:06:12 GMT
I think this is all but guaranteed to get a WE transfer now
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