Many plays have dealt with dysfunction, but the perspective is what makes Fun Home unique. It portrays a troubled family from the points of view of a child at different ages, and it combines this with the self-discovery of the young woman’s homosexuality. If actors or director underline any one of the themes, they risk upsetting the delicate balance — and the Arden’s artistic director, Terrence Nolen, maintains a symmetry. Of the three productions I’ve seen of Fun Home, this Arden staging is the most communicative. The cartoonist Alison Bechdel wrote a 2006 self-illustrated book about her experiences called “Fun Home: A Family Tragicomic,” and this musical play is based on Bechdel’s book. The subject is Alison’s relationship with her tyrannical father Bruce who was a funeral director and high school English teacher in a central Pennsylvania town. Alison gradually discovers that her father is a closeted gay who has sex with teenage boys. As Bruce realizes that his life is out of control, he tries to regulate his family members and manage his home life so that “everything is balanced and serene.” Alison epitomizes the fears of all people that they’ll inherit the worst aspects of their parents. In her case the fear is magnified because homosexuality, in that time and place, was considered to be a sickness. “Am I going to be the same?” is a terrifying prospect to her. Mary Tuomanen wins our hearts as the adult Alison as she stresses the curiosity of her character, rather than anger. Repeatedly her face discloses that she can hardly believe what she’s recalling. And sometimes she laughs sardonically as if to say “How did I survive this?” Her interpretation is endearing. I must add praise for her technical skill at projecting every nuance and articulating every syllable, while appearing natural. Ben Dibble as Bruce adds another achievement to his gallery of great work which, like Tuomanen, spans dramas, comedies and musicals. Here he conveys confusion under wraps, tension contained in a tight box. It’s a tough role and a stellar accomplishment, because the script doesn’t allow Bruce to talk or sing about his feelings as the other characters do. Izzy Castaldi as the college-age Medium Allison is communicative as she discovers her sexuality with fellow-student Joan, played excellently by Jackie Soro. Castaldi’s realization song, “I’m Changing My Major to Joan,” comes across as innocent and charming — and that’s an attainment because some of the lyrics are so over-the-top that they threaten to make the relationship (or any relationship) seem silly. Once again, director Nolen exquisitely balances wry humor with seriousness. Lily Lexer plays Small Alison who is enchanted at the sight of a butch delivery woman and sings “Ring of Keys” about her attraction to such symbols of strength and authority as short hair, lace-up boots and keys. We see wonderment, which communicates better than the gloating we saw in an earlier production. Kim Carson as the mother beautifully sings the ballad “Days and Days.” Charles LaMonaca, Robi Hager and Liam David-Kilker are fine in the other roles. The show’s comic-relief number, "Come to the Fun Home," is slightly handicapped when the children turn around to face sides of the circular stage and their words become indistinct. For the benefit of those who missed some of them, the kids rhyme “Our mourner’s are satisfied / They like the formaldehyde” while Jeanine Tesori’s music satirizes the Jackson Five. Ryan Touhey leads his small band in John Clancy’s original seven-piece orchestrations. James Kronzer designed the intentionally simple set and Rosemarie McKelvey the contemporary costumes.
