On March 8 and 9, Brandeis Freeplay Theatre Cooperative held a workshop for Alison Bechdel’s “Fun Home” at the Shapiro Campus Center Theater at Brandeis University. Directed by Jae Fioribello, the event was originally set for a conference room but was moved to the theater less than a week before opening night. Despite the rushed timeline, the cast and crew adapted quickly to the new venue.
“Fun Home,” based on Alison Bechdel’s graphic memoir, is a tragicomedy that blurs the line between past and present, offering a deeply self-aware narrative. The performance tackled themes such as identity and self-discovery, abusive family dynamics, struggles with memories, mental health and marital issues.
One standout aspect was the brilliant choreography, particularly in the musical number “Edges of the World,” which depicts the mental breakdown of Alison’s father, Bruce, portrayed by Nico Sloan. The use of light, voice and movement in this scene seamlessly portrays a deeply troubled closeted man struggling with his inner demons, ending with Bruce stumbling off a ledge to signify his suicide.
The cast delivered outstanding performances, even with many freshmen among them. Lauren Pachter, as the adult Alison, guided the audience through memories written in her journal. Throughout the performance, Alison struggles to understand her father’s actions and her own identity.
As a child, portrayed by Mimi Hilnbrand, Alison couldn’t understand her feelings towards other women or her desire to wear ‘boy clothes.’ During her freshman year in college, portrayed by Franny Gindi-Chiafullo, she discovers she is a lesbian, though initially reluctant to accept it. She quickly gets involved in activism and tries to tell her parents, but her mom is unresponsive.
As the story unfolds, the audience is taken on a journey through Alison’s memories, exploring her relationship with her father and her own self-discovery. The musical numbers, such as “Changing My Major to Joan,” highlight Alison’s evolving understanding of her sexuality and her growing connection with Joan, portrayed by Shelby Terry. This song, filled with humor and emotion, captures Alison’s excitement and confusion as she navigates her new identity.
The performance also delves into the darker aspects of Bruce Bechdel’s life. Scenes like the one where Bruce forces Roy to unbutton his shirt before giving him a drink are particularly uncomfortable, showcasing Bruce’s abusive tendencies and the impact they have on his family. The portrayal of Bruce’s mental decline is both poignant and unsettling, culminating in his tragic end.
Rachel Batsevitsky, as Helen Bechdel, delivers a powerful performance as Alison’s mother, struggling to cope with her husband’s controlling behavior and infidelities. Her character’s complexity is evident as she balances her own frustrations with her attempts to support her children.
The set design and effective use of lighting played a crucial role in creating the performance’s intimate atmosphere. The transitions between past and present were seamless, allowing the audience to fully immerse themselves in Alison’s story. The onstage piano provided a beautiful and haunting soundtrack that underscored the emotional weight of the narrative.
The climax of the performance is when all three Alisons join following “Edges of the World” to sing “Flying Away.” The song serves as a culmination of Alison’s journey of self-discovery and her attempts to understand her father, with beautiful harmonies and reflective lyrics that convey a sense of longing, reconciliation and acceptance.
The three Alisons physically joined together, symbolizing the unity of her past and present selves. This visual representation underscores the theme of self-acceptance and the integration of different aspects of one’s identity, making “Flying Away” a fitting and impactful conclusion.
None of this amazing performance could be done without the help of the crew and production staff. The team, led by newbie stage manager Erin Klein, had to quickly adapt to the new, much bigger stage after the show that was scheduled to play there was canceled. This moved them from a conference room to a full theater with lights, sound and backstage in the span of four days.
The success of Brandeis Freeplay’s “Fun Home” workshop is a testament to the resilience and dedication of the entire team. The cast’s outstanding performances, combined with the crew’s ability to adapt to a new venue on short notice, resulted in a moving and thought-provoking event. The seamless integration of music, choreography and lighting created an immersive experience that captivated the audience from start to finish.
Dylan Podlinski can be reached at [email protected]
