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Regionally, she has worked with the San Francisco Opera’s Merola Opera Program, the American Conservatory Theatre in San Francisco, and Skylight Music Theater in Milwaukee, among others. Lauren is an alumna of the University of Wisconsin Milwaukee’s Theatre Program, with a BFA in Stage Management, and is a proud member of Actors' Equity Association. Debra Booth has a long history with Studio, where she has set designed People, Places and Things; Pass Over; Translations; The Wolves; The Father; The Hard Problem; Constellations; The Apple Family Cycle; Jumpers for Goalposts; Cock; Bachelorette; and many others. This enormously likeable show was a popular hit when it opened at the Public Theater in 2013.
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Esmailian has been featured on various power lists for Variety and other music publications, and frequently posts photos of himself and his home on social media. He and other members of the team were featured on the cover of Billboard in early 2021. A security guard was shot several times outside the Los Angeles-area home of Weeknd co-manager and business partner Amir “Cash” Esmailian in an apparent home invasion, according to Fox11. Christie D’Zurilla is an assistant editor for entertainment news on the Fast Break team. A graduate of USC, she joined the Los Angeles Times in 2003 as a copy editor, started writing about celebrities in 2009 and has more than 34 years of journalism experience in Southern California.
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Concert performances include Mozart’s Mass in C Minor, Carmina Burana, Requiem by John Rutter, and Handel’s Messiah. She made her Carnegie Hall debut in 2011 as the soprano soloist in The Golden Boy composed by Freddie Mercury. Jeanine Tesori is a composer of musical theatre, opera, television and film. She won the Tony Award for Best Score (with book writer & lyricist Lisa Kron) for the musical Fun Home in 2015. Her latest opera Blue (libretto by Tazewell Thompson) received the Music Critics Association of North America Award for Best New Opera.
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Gordon Nimmo-Smith (he/him) is a Maryland-based sound engineer and designer. By day, Gordon works as the Audio/Video and Stage Operations Supervisor for Shakespeare Theatre Company. “Ring of Keys,” another trenchant musical number, is sung by the young tomboy Alison, who can’t articulate her sexual feelings but wholeheartedly declares her admiration for the butch lesbian who swaggers into a diner swinging a powerful set of keys.
‘Fun Home’ at Cain Park review: Production of impactful music delivers - News-Herald
‘Fun Home’ at Cain Park review: Production of impactful music delivers.
Posted: Wed, 16 Aug 2023 07:00:00 GMT [source]
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Alison remembers herself, as a child, demanding that her father Bruce play "airplane" with her, while he sorts through a box of junk and valuables he has salvaged from a barn ("It All Comes Back"). Bruce tells the family that a visitor from the local historical society is coming to see their ornate Victorian home that he has restored, and his wife Helen prepares the house to Bruce's demanding aesthetic standard ("Welcome to Our House on Maple Avenue"). In a phone call with her father and a journal entry, Medium Alison expresses her anxiety about starting college ("Not Too Bad").
Sam Gold‘s direction brings lucidity to the complex mechanics of staging a story that takes place in three time frames. And Jeanine Tesori‘s haunting music doesn’t sound a bit like anyone else’s music. When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family’s Bechdel Funeral Home, her growing understanding of her own sexuality, and the looming, unanswerable questions about her father’s hidden desires.
Read more about Cerveris' personal journey with Fun Home and the character of Bruce Bechdel here. "We force people to identify themselves first according to their race or sexual orientation or any number of things," he said. After initially focusing so much on Bruce's sexuality, he was surprised to realize he needed to focus on being a father as well, leading him to think about his own father, who also had three children. This revelation helped him to understand the role and his own thought process, which focused on Bruce's sexual orientation more than his overall life, differently. "People ask, 'How do you explain the theme to the kids?' The truth is we just told them," Cerveris said at the Tony Awards.
Original London production
But it’s not all fun and games living under the same roof with their domineering father, the funeral director, who is also a schoolteacher and an absolute fanatic about restoring his Victorian home. The impact of Fun Home, which, following its Tony victories saw an increase in ticket sales, could be far-reaching, and it has already resonated deeply with theatregoers. Cerveris told Playbill.com in a previous interview that he had received messages from people who said his performance as Bruce had inspired them personally. Granted, it’s unlikely that many details of your childhood exactly resemble those of the narrator of this extraordinary musical, which pumps oxygenating fresh air into the cultural recycling center that is Broadway. As Bruce, Murphy finely carries the balance between his character’s captivating charisma and his repressed vulnerability. Prior’s performance elegantly nails his wife’s frustrations at her unhappy marriage, though her stiff delivery sometimes gets in the way of her strong vocals, especially in the moving 11 o’clock ballad expressing this long-suffering regret, Days and Days.
Alison explores the tensions her family was under at this time and watches a heated argument between her parents. Helen confesses to Medium Alison her troubled and turbulent life with Bruce ("Days and Days"). Medium Alison, Joan and Bruce have an unexpectedly pleasant evening around the piano. Bruce asks Alison if she'd like to go for a drive, and (adult) Alison realizes that Medium Alison is gone; she joins her father in the car, breaking the boundaries of time. On the drive, she and Bruce struggle to express themselves to each other ("Telephone Wire").
The songs play occasionally at a slower tempo than the original Broadway cast recording, which, while drawing out the musical’s pacing slightly more than necessary, brings a new clarity and detail to the score. With Bryant at the helm, the production holds dearly on to Fun Home’s depiction of an artist’s attempt to grasp at the elusive reasoning behind her father’s death – an incident that opens the show. It’s a harrowing place to begin, but it’s tactfully and shrewdly pulled apart by the director, his cast and creative team. Two-time Tony winner Michael Cerveris made his Broadway debut as the title character in The Who’s Tommy. He won a 2004 Tony for his portrayal of John Wilkes Booth in Assassins and a 2015 Tony for his portrayal of Bruce Bechdel in Fun Home.
His other Broadway credits include Sweeney Todd, LoveMusik, Hedda Gabler, In The Next Room, or the Vibrator Play and Evita. Alison remembers a time when Bruce took her and her brothers on a trip to New York City. After a long day, Small Alison, Christian and John settle into sleeping bags. He reassures his daughter that he's just going out for a paper, but Alison realizes he was probably going cruising.
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