Fun Home London

[qolbinau]

One of the most stunning moments in the West End production of Fun Home (original Director/creative team), and one of the most amazing moments of staging I've ever seen, is in Act Two. 

The cold, flat white apartment wall disappears and the stage opens to a fully realised, carnivorous, luxurious mansion. Not one room but two - the stage is incredibly deep as far as the eye can see downstage. It essentially looks like a massive recreation of a real home. Much larger in scale and size than I can see from the National Tour, and no idea how they could achieve the same effect in the round. Suddenly, I am shattered because I realised that 1. The sparse, intimate staging of the house in earlier scenes was a deliberate choice and not due to low budget. It's as if the memory of the person imaging it was hazy, or almost deceptive in making the house seem a lot more intimate than it was. 2. In reality, Helen has been 'locked up'/'trapped' in this massive, cold mansion for "Days and Days" (Jenna Russell then leads into Days and Days, which is a great if a little reserved performance).

It was just such a bizarre thing to experience - I didn't even realise the theatre (which is technically off West End I believe) had such a large stage to pull this off. 

I guess I am interested in understanding 1. How they did this scene on Broadway, tour, off-broadway; 2. Who has seen the show both in London and in these other productions to compare this moment?


 

[Ravenclaw]

I saw the production on Broadway and the tour, and what you describe is why I actually liked the staging more on the tour than on Broadway. They had the same effect with the white wall that then lifted to reveal a fully realized house, although it wasn't as huge of a house as you describe. I really appreciated the effect that as Allison delves deeper into her past, the world becomes more and more real, leading up to the moment when she steps into the shoes of her past self. It's just a fantastic example of design aiding in storytelling.

On Broadway, of course, this effect was not as fully realized in the round. From what I recall, in the scene before, most of the scenery from the home had found its way offstage, so when Allison comes home with Joan, all of the furniture (the couches, tables, and the piano) rose on elevators out of the floor. When I saw it, it was an interesting moment, but it wasn't until the tour that I really understood what effect they were going for. 

I'm glad to hear that the London production is so fantastic. The tour was able to achieve greater clarity in design choices, whereas the Broadway production had intimacy on its size. Both were great productions, but it sounds like the London production might be combining both of those.

[qolbinau]

The show is in great shape and staged very very well - I didn't realise it was such a highlight. Yes as you mention the 'swapping' of the old Alice instead of the 'real' medium one in that moment was genius.

But something at the core of the show was a bit unsettling for me - not sure if it was the character or the actor, but Bruce probably ranks up there with Fosca as one of the most unpleasant/annoying/unsympathetic leading characters I'm aware of. In addition to weird quirks/tics (might be the actor's fault), he is basically an angry, abusive, confused person that is a borderline (or actual) sex offender who mistreats his children and enslaves his wife in a loveless marriage. 

At least Fosca gets "Loving You". What does Bruce get? Lifting up his child to "Play Airplane?". I hated him. 

I get that real life can be unpleasant, though.

[nasty_khakis]

It's obviously been years, but I recall the off-broadway production at the Public was staged like this.

[SomethingPeculiar]

You mention Act 2: Does the show have an intermission in London? 


Re: Bruce:   Perhaps it was the brilliance of Michael Cerveris's performance, but I found Bruce to be such a beautifully tragic, complicated man who loves his family so much despite his flaws. And when he finally had his big soliloquy moment at the end, the audience was just hanging on his every word. It's a shame that this actor's performance is not bringing that.

[qolbinau]

Sorry it's only one act with no intermission. It's more that in my mind I'm thinking it as towards the end of the show.

I think one of the other issues with the lead is that he is clearly British trying to play an American. I just don't know if it's working. Weird creepy accent slipping in and out. It's a little too bizarre for me.

[JBC3]

nasty_khakis said: "It's obviously been years, but I recall the off-broadway production at the Public was staged like this."

It was.

[macnyc]

Yes, it was a wonderful moment at the Public too. And Michael Cerveris brought such depth and nuance to the character. It's a very tricky role.