630 posts
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Post by jamb0r on Jul 5, 2018 10:01:34 GMT
In 2015 I was an attendee at the Out & Equal conference in Dallas and as part of the gala dinner celebrations on the final evening they flew Sydney Lucas down from Broadway just to sing Ring of Keys. I'd not heard too much about this musical (this was before I followed the Tony awards etc religiously) but was completely transfixed, and I've been DESPERATE to see the show ever since.
I finally got to see it last night, and it was everything I had ever wanted it to be - I am firmly in the 5 star camp.
Firstly, we had the band A TodayTix presale seats, which were right in the middle of row H - absolutely perfect view.
There was not a weak link in the cast. The kids were fantastic - we had Brooke, Charlie & Ramsay and they all did a great job, especially in Come to the Fun Home. The adults were all perfect too. Everytime Jenna was featured my heart broke, Eleanor was fantastic (and hilarious) in Changing My Major. Brooke as Small Alison was the highlight for me - I thought she was amazing. Having seen Sydney I thought nothing would be able to top her performance (based on the one song I'd seen her perform and other clips I'd seen), but I feel like Brooke was maybe a bit more natural in her portrayal and a bit less 'Broadway'.
I love all of the technical aspects too, the lighting design was absolutely stunning. Without spoiling, the staging was so unexpected - and there was an audible gasp from the audience at one point.
I was a in bits by the end, almost lost a contact lens.
This truly felt like a pice of 'art' than a big blockbuster musical with catchy tunes. I'd love to see it have life in the West End, but I'd worry about there being a market for it. It did only have a relatively short run on Broadway after all.
I've already booked to see it twice more, including closing night (bless the YV and their lucky dip tickets! Looked like all lucky dippers got good seats in front stalls last night)
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Post by Deleted on Jul 6, 2018 23:40:33 GMT
I saw this tonight and thought it was great. I barely knew anything about it going in and was surprised at how much i enjoyed it. It was moving and though i wasn't sobbing like the girl next to me, i definitely welled up in a few places. Despite being told in different timelines, it was very well done and a clear story throughout. I'm not too sure of what to make of Bruce. I can't decide if i like the character or not. Am i supposed to like him? And his accent bothered me.... I thought Zubin Varla could be a great Ben in Follies
The staging was excellent and as others have said, very surprising! I liked most of the songs, but Raincoat of Love, fell totally flat. I found Ring of Keys very moving, as in the context of the show, its a big moment for Alison.
And because i'm a sucker for detail, middle Alison was left handed and older was right handed... maybe she was ambidextrous!
I booked months ago through Today Tix and was in row E, right in the centre. Perfect seats.
Highly reccommended
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264 posts
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Post by squidward on Jul 7, 2018 1:58:51 GMT
I absolutely loved the graphic novel of Fun Homw and was intrigued by the clips I saw from the NY production. I really didn't love what I saw at The Young Vic tonight and for me the biggest problem was Zubin Varla whose performance was over the top from the very beginning. Lots of gurning and scenery chewing. {Spoiler - click to view}
By the time he got to the penultimate song before he commits suicide, I couldn't wait for him to step in front of that lorry Young and middle Alison were terrific. Kaisa Hammerlund didn't make much of an impression on me,but to be honest she didn't have much to get her teeth into really. Jenna Russell did her best with a tremendously underwritten role. For a story that is framed by the writing of a graphic novel, I don't understand why they didn't utilise more of the art from Alison Bechdel's book in the design. The one image they did use at the end really packed a punch. I always struggle with Jeanine Tesori's music. This score (barring a couple of numbers) sounded like reheated Sondheim to me. I kept hearing musical phrases that sounded very close to ones from Sunday in the Park with George. All in all, it didn't move me in the way that the book did, but I think much of that was to do with the central relationship between Alison and her father which was clouded for me by Zubin Varla's peculiar acting choices which left him seemingly in a different production to the rest of the cast. I wish I'd been able to see the brilliant Michael Ceveris in the role that he played in NY instead. I know I'm in the minority, but to me this production was a big disappointment. |
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Post by Deleted on Jul 7, 2018 2:47:53 GMT
Young and middle Alison were terrific. Kaisa Hammerlund didn't make much of an impression on me,but to be honest she didn't have much to get her teeth into really. Jenna Russell did her best with a tremendously underwritten role. Older Alison has nothing to sink her teeth into? Say what? She, and th relationship with her father, is the primary tension around which the production revolves. And I will go to my grave arguing that the mother is not underwritten, but written to reflect the actual family dynamics. |
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Post by BurlyBeaR on Jul 7, 2018 7:53:31 GMT
Just a gentle reminder to use spoiler tags for plot revelations please. Lots of people haven’t seen this yet.
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264 posts
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Post by squidward on Jul 7, 2018 11:17:32 GMT
Just a gentle reminder to use spoiler tags for plot revelations please. Lots of people haven’t seen this yet. Yes of course, apologies for that! |
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264 posts
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Post by squidward on Jul 7, 2018 11:24:26 GMT
Young and middle Alison were terrific. Kaisa Hammerlund didn't make much of an impression on me,but to be honest she didn't have much to get her teeth into really. Jenna Russell did her best with a tremendously underwritten role. Older Alison has nothing to sink her teeth into? Say what? She, and th relationship with her father, is the primary tension around which the production revolves. And I will go to my grave arguing that the mother is not underwritten, but written to reflect the actual family dynamics. In my humble opinion, I do feel that by splitting the Alison part into three, there wasn’t enough time to devote to her adult relationship with her father. I know that what is not said ( in terms of the mother) can sometimes speak volumes, but I don’t think that was the case here. More is revealed in Bechdel’s ‘Are you my mother?’ Book, but there were some key issues I think could have been included here that weren’t ( why did she stay with her husband for one). |
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4,806 posts
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Post by Mark on Jul 7, 2018 11:44:53 GMT
Just a gentle reminder to use spoiler tags for plot revelations please. Lots of people haven’t seen this yet. When is a spoiler no longer a spoiler though? This show has been “out” as it were for years. |
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2,452 posts
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Post by theatremadness on Jul 7, 2018 12:28:57 GMT
I know squidward was making a point about the father character but what was said in that spoiler sits very uneasy with me considering this is a true story.
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19,797 posts
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Post by BurlyBeaR on Jul 7, 2018 14:32:10 GMT
Just a gentle reminder to use spoiler tags for plot revelations please. Lots of people haven’t seen this yet. When is a spoiler no longer a spoiler though? This show has been “out” as it were for years. Only five years, and this is a European premier so it’s reasonable to expect that many, or even the majority of audience members will not know the plot. |
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Post by Deleted on Jul 7, 2018 17:02:11 GMT
In my humble opinion, I do feel that by splitting the Alison part into three, there wasn’t enough time to devote to her adult relationship with her father. Wasn't... wasn't the point of the show that she didn't ever have an adult relationship with her father...? |
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264 posts
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Post by squidward on Jul 7, 2018 17:27:40 GMT
I know squidward was making a point about the father character but what was said in that spoiler sits very uneasy with me considering this is a true story. I apologise if the spoiler offended you,. That wasn’ my intention but I can see how it could appear off. The point I was making was about the nature of the song before the spoiler which in Zubin Varla’s portrayal was torturous but not in the right way. |
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Post by squidward on Jul 7, 2018 17:30:12 GMT
In my humble opinion, I do feel that by splitting the Alison part into three, there wasn’t enough time to devote to her adult relationship with her father. Wasn't... wasn't the point of the show that she didn't ever have an adult relationship with her father...? That wasn’ t my understanding of it all. It wasn’t an honest relationship, but there was still a strong and complex relationship between them ( I think). |
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Post by Deleted on Jul 7, 2018 17:45:46 GMT
Young and middle Alison were terrific. Kaisa Hammerlund didn't make much of an impression on me,but to be honest she didn't have much to get her teeth into really. Jenna Russell did her best with a tremendously underwritten role. Older Alison has nothing to sink her teeth into? Say what? She, and th relationship with her father, is the primary tension around which the production revolves. I must say I agree with squidward here. I thought the older Alison was by far the weakest of the three and a fairly bland and forgettable character who just walked about a lot with a pen. She added nothing to the show for me. Middle Alison was far and away the most interesting one. |
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Post by mallardo on Jul 7, 2018 19:58:41 GMT
Saw it this afternoon (appropriate day, I know, and there were Pride stickers available in the foyer). Knew nothing about it at all before seeing it - managed to avoid the spoiler here. OK, it's polished and absorbing and done very beautifully by the Young Vic. My only reservations are that the American emotional open-ness, that "child like" quality American writing invariably has, took a little acceptance. I did, as it deserved it. Second, I did feel that there wasn't quite the impact at the end that I was expecting. I perhaps wanted a clearer meaning of it all to be telegraphed. Still, delighted I saw it, and am looking for the book now.
I rarely disagree with you, TM, but I can't let this go by unchallenged. The "child like" quality American writing invariably has? Does emotional open-ness equate to naivety? Do you really think European writing is that much more subtle and sophisticated - and if so does that make it better or more dramatic or more intelligent?
Where is the non-American musical that exhibits the structural sophistication, the musical complexity or the depth of characterization that Fun Home offers? |
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Post by theatremadness on Jul 7, 2018 21:45:01 GMT
I know squidward was making a point about the father character but what was said in that spoiler sits very uneasy with me considering this is a true story. I apologise if the spoiler offended you,. That wasn’ my intention but I can see how it could appear off. The point I was making was about the nature of the song before the spoiler which in Zubin Varla’s portrayal was torturous but not in the right way. Appreciated - and yes I do understand what you mean, even if I disagree haha! |
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Post by apubleed on Jul 7, 2018 23:48:19 GMT
Saw it this afternoon (appropriate day, I know, and there were Pride stickers available in the foyer). Knew nothing about it at all before seeing it - managed to avoid the spoiler here. OK, it's polished and absorbing and done very beautifully by the Young Vic. My only reservations are that the American emotional open-ness, that "child like" quality American writing invariably has, took a little acceptance. I did, as it deserved it. Second, I did feel that there wasn't quite the impact at the end that I was expecting. I perhaps wanted a clearer meaning of it all to be telegraphed. Still, delighted I saw it, and am looking for the book now.
I rarely disagree with you, TM, but I can't let this go by unchallenged. The "child like" quality American writing invariably has? Does emotional open-ness equate to naivety? Do you really think European writing is that much more subtle and sophisticated - and if so does that make it better or more dramatic or more intelligent?
Where is the non-American musical that exhibits the structural sophistication, the musical complexity or the depth of characterization that Fun Home offers? They don’t exist. American musicals are by far the world’s greatest in absolutely every single domain of artistic inquiry. We are very lucky that FUN HOME is being presented here to show us how it’s done. Thank god for the American musicals of late as the state of the west end would be awful orthwise. Football may be coming home but the musical certainly isn’t. |
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Post by Deleted on Jul 8, 2018 9:04:30 GMT
Maybe if you’ve bought your tickets a whole year in advance on the strength of the squeals* of excitement on here once its arrival was announced, the (almost) universal praise from Theatreboarders and critics alike once it’s finally opened, you’re expecting too much... I’m afraid I’m going to be the pisser on the strawberry patch; if that offends, please skip and move on now. A little girl came on to one of the widest stages I’ve seen. She is Small Alison and she turns out to be a brilliant little actress. She sings, “I wanna play airplane,” and she lifts her arms as if she needs to fly. It’s touching, because with minimal prior research on the subject matter, we already know what she means, although she possibly doesn’t know herself. Ten minutes in and Alison reveals the ending of the show with no spoiler alert. Ten minutes in and I was beginning to wonder if my ears were playing tricks with me as I hadn’t heard any music that’d got me hooked. And this was a musical, right? I quite liked the two pastiche numbers, although they were at odds with the rest of the score and, if I’m honest, they weren’t a patch on the hits of The Jackson 5 or The Partridge Family. I kept thinking of a good friend of mine who I met through work thirty years ago. When she first found out I loved musicals she would tease me: “They all sound the same! They all sound as if someone has made them up on the toilet!” And she’d ‘sing’ what we had to do next, like some meandering recitative that almost burst into a tune but then fizzled out. I took her to see Les Mis. She changed her opinion... I kept listening out throughout this for something I might want to listen to again at home. (It’s odd; I used to be in Dress Circle all the time buying new cast recordings, before transferring my allegiance to Amazon. But I haven’t bought a new cast album in years and years...) It never arrived. Like Small Alison, I wanted to soar, to be lifted by melodies that sadly didn’t materialise. Alison draws. Cartoons. But I didn’t actually see any. I lie: we saw one, projected onto the back of the stage right at the end, but it was too late...
This is what I wanted to see!
If any show was crying out for projections it’s this one! I ‘got’ the story, as I’d imagine most of us did in the colourful, shorts-wearing, sequined audience yesterday evening. But I couldn’t engage somehow, or it didn’t engage me. I liked the three tiered structure, the performances were good, and I was pleased to be seeing it. But it all washed over me a bit, and I was unmoved. I felt alone at the end, with the whooping and cheering and standing going on around me. Like I was different, not fitting in. I wasn’t part of that crowd. It’s a bit like that on here sometimes, I find. You often have to mind what you say otherwise you risk not being liked, simply ignored or, at best, being quoted and told you’re wrong. But that’s one of the themes of this piece, isn’t it? You don’t have to do or say something just because everyone else does. We all have our own mind. We just have to make it up.
(*yes, seriously; check back to the earliest pages of the thread)
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Post by apubleed on Jul 8, 2018 9:25:39 GMT
If you're looking for songs with repeat value try re-listening to "Ring of Keys", "Changing My Major" and "Days and Days". Personally I think with many musicals it's hard to pick up the melodies on the first listen but they are there. As for this production, I personally loved it and greatly appreciate the character development, staging, songs etc. but overall I found the show a little colder than I was expecting. The lead male character I found to be incredibly unlikable. In general, I also thought the singing performances were almost universally understated (including Jenna Russell). With the exception of "Changing My Major", perhaps. Assuming it's not an issue with capability I'm guessing it was a directorial choice? |
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Post by Deleted on Jul 8, 2018 9:34:54 GMT
I haven't seen this yet (should have seen it last weekend, but I'm a muppet and booked at holiday at the same time) But I always find it fascinating that people write off musicals when they don't come out 'humming the songs' it usually takes me 2-3 listens of anything to have it stuck in my head (pop songs, etc too) and I consider myself 'musical'. But also many a good song is a 'grower' as well, taking a while to appreciate or work it's way in.
I'm not saying the Fun Home Score is amazing. I deliberately haven't revisited it since the London production was announced to hear it 'in context' but this is just a general observation on responses to musicals. Sometimes it's the whole package (ooh er Misses etc etc)
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Post by notmymuse on Jul 8, 2018 9:51:28 GMT
I can't believe TM was in the same audience as me and I didn't know! I feel almost famous by association! I would have said hi. Shame.
Anyway, having booked ages and ages ago, I enjoyed this yesterday. For me, it wasn't my favourite thing ever, but a solid 4 stars.
I loved middle Alison who was great, the kids were fab, and Jenna Russell was in it, which was reason enough to be very happy. She delivered a devastating "days and days". Someone needs to write her a great one woman show. Or re mount shows casting her in every role...
I was left a bit confused by the ending, and with TM, I wanted it to be a bit more clearly telegraphed. It left me with more questions than answers in a way - was the father bipolar? And was that supposed to be related to the stress he was under and the situation he felt himself in? Was the house a metaphor for his own life - potentially beautiful but falling apart due to its situation?
Seeing it on pride day, and comparing the freedom Alison had in her sexuality a generation later with her dad's likely experience and what that had meant for him was really sobering. I think we take our freedom for granted so much sometimes and it's been hard won and is very precious, I remembered, watching this.
I wasn't sure Kaisa Hammerlund's voice was ideally suited to the part of Older Alison as she seemed to struggle a bit with the highest notes.
Very glad I caught this.
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Post by Deleted on Jul 8, 2018 10:06:12 GMT
Musical theatre fans: "Musicals are rubbish if they don't have an assortment of stand-out stand-alone hummable tunes!"
Also musical theatre fans: "STEPHEN SONDHEIM IS GOD"
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Post by Deleted on Jul 8, 2018 10:11:45 GMT
Musical theatre fans: "Musicals are rubbish if they don't have an assortment of stand-out stand-alone hummable tunes!" Also musical theatre fans: "STEPHEN SONDHEIM IS GOD" You were braver than me this morning- I was going to say 'WHEN DID YOU LAST HUM A SONDHEIM MUSICAL ON FIRST HEARING' but I chickened out. |
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Post by Deleted on Jul 8, 2018 10:24:36 GMT
Maybe if you’ve bought your tickets a whole year in advance on the strength of the squeals* of excitement on here once its arrival was announced, the (almost) universal praise from Theatreboarders and critics alike once it’s finally opened, you’re expecting too much... I’m afraid I’m going to be the pisser on the strawberry patch; if that offends, please skip and move on now. A little girl came on to one of the widest stages I’ve seen. She is Small Alison and she turns out to be a brilliant little actress. She sings, “I wanna play airplane,” and she lifts her arms as if she needs to fly. It’s touching, because with minimal prior research on the subject matter, we already know what she means, although she possibly doesn’t know herself. Ten minutes in and Alison reveals the ending of the show with no spoiler alert. Ten minutes in and I was beginning to wonder if my ears were playing tricks with me as I hadn’t heard any music that’d got me hooked. And this was a musical, right? I quite liked the two pastiche numbers, although they were at odds with the rest of the score and, if I’m honest, they weren’t a patch on the hits of The Jackson 5 or The Partridge Family. I kept thinking of a good friend of mine who I met through work thirty years ago. When she first found out I loved musicals she would tease me: “They all sound the same! They all sound as if someone has made them up on the toilet!” And she’d ‘sing’ what we had to do next, like some meandering recitative that almost burst into a tune but then fizzled out. I took her to see Les Mis. She changed her opinion... I kept listening out throughout this for something I might want to listen to again at home. (It’s odd; I used to be in Dress Circle all the time buying new cast recordings, before transferring my allegiance to Amazon. But I haven’t bought a new cast album in years and years...) It never arrived. Like Small Alison, I wanted to soar, to be lifted by melodies that sadly didn’t materialise. Alison draws. Cartoons. But I didn’t actually see any. I lie: we saw one, projected onto the back of the stage right at the end, but it was too late...
This is what I wanted to see!
If any show was crying out for projections it’s this one! I ‘got’ the story, as I’d imagine most of us did in the colourful, shorts-wearing, sequined audience yesterday evening. But I couldn’t engage somehow, or it didn’t engage me. I liked the three tiered structure, the performances were good, and I was pleased to be seeing it. But it all washed over me a bit, and I was unmoved. I felt alone at the end, with the whooping and cheering and standing going on around me. Like I was different, not fitting in. I wasn’t part of that crowd. It’s a bit like that on here sometimes, I find. You often have to mind what you say otherwise you risk not being liked, simply ignored or, at best, being quoted and told you’re wrong. But that’s one of the themes of this piece, isn’t it? You don’t have to do or say something just because everyone else does. We all have our own mind. We just have to make it up.
(*yes, seriously; check back to the earliest pages of the thread)
Felt exactly the same. The music is SO bland. I appreciate you don’t love lots of the musical greats immediately and re the #humming comments that it can take a few listens before you hum. BUT the first listening of great music makes you WANT to listen again whether you can hum or not. For me this didn’t. I also think for a musical, music comes first and foremost before everything else. That’s just my opinion of course and of course music and plot are inextricably linked. Clearly it’s best when music AND plot are great. But incredible music and no/bad plot I can still have an amazing time. Great plot with awful music, no. I do get that people are massively identifying with and emotionally connected to the plots of some of these recent Broadway musicals. But it does make me think they are forgiving some very mediocre music because of this.... *ducks* |
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Post by Deleted on Jul 8, 2018 10:25:36 GMT
Yeah, I'm always tempted to go into a musical not having heard the score but then I think about how much I might want to go back once I know the score well and therefore get far more enjoyment from the music, and seeing a show twice is not always possible due to money, limited runs etc.
I do find it somewhat frustrating having to listen to songs over and over before they click, which is probably why my interest in music outside of cast recordings is pretty non-existent. What helps with musicals is that you're usually very explicitly being told a story and you can latch on to the interest in that even if a song isn't great to listen to until the 10th time or something.
The first time I listened to the score for the Great Comet I basically recoiled from it and now it's one of my all time favorites. I'm glad I listened before I saw it and allowed it to (very slowly) grow on me and indeed it was only when I did see it that it all clicked into place completely for me. Likewise, often the songs on a cast recording I find instantly hummable or enjoyable end up paling in comparison to the ones that take me longer to warm up to.
Having said all that, I did find both Ring of Keys and Changing My Major pretty instantly enjoyable and memorable, so I'm not sure I would agree with the complaint for Fun Home, even if I did think it was a valid one. Songs like Telephone Wire and Edges of the World took longer for me to fully grasp but are absolutely worth persisting with.
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