I'm on the record supporting Broadway musicals that are centered on crimes ("Sweeney Todd," "Kimberly Akimbo," "Little Shop"). Another of my favorites--because it seems so counterintuitive--is "Fun Home."
A literal crime forms the heart of this show; Bruce Bechdel has been shtupping some underage males. Additionally, consider Bruce's spiritual crime: his way of tormenting himself and, by extension, his family. Bruce's descent into madness, and suicide, is mesmerizing; you almost can't believe you're seeing this on a musical stage.
Alison Bechdel's memoir begins with a game of airplane, but it's Lisa Kron's brilliant move to imagine the argument that occurred minutes earlier:
Daddy! Hey, Daddy! Come here, OK?
I need you.
What are you doing? I said, come here.
You need to do what I tell you to do.
Listen to me.
Daddy!
LISTEN to me.
I wanna play airplane.....
This is--apparently--just a kid trying to get her father's attention. But it's also a way of announcing themes: need, missed connections. Alison is both a child and a grown woman; in the present, she wants her dad as much as she'd felt want thirty years earlier. The other stunning move here is to have the child address Dad in Dad's own words: "You need to do what I tell you to do....Listen to me..." Part of ambivalence is love; you find that the guy's language is spilling out of your own mouth.
Michael Cerveris won a Tony Award for the Broadway production--but where is the Jake Gyllenhaal film? One has to wonder.
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