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Fun Home

ON THE TOWN WITH CHIP DEFFAA… CELEBRATING “BROADWAY BEFORE BEDTIME”

June 2, 2026

There are plenty of podcasts dealing with theater and pop culture. (I’ve been a guest on my share of them.) The podcast “Broadway Before Bedtime”—presenting new episodes every week--features two theater pros interviewing other theater pros. What makes this podcast unique is that its gifted co-creators/co-hosts—Yair Keydar and Remi Madden Tuckman--are just 13 years old! They first gained attention when they alternated, playing a key character, “Brendan,” in the 2024-25 Off-Broadway musical, Drag. I wrote in these pages back then—and I choose my words with great care--that they were the most talented child actors on stage in New York that season, and about as impressive as any child actor I’d seen in years. [more]

Fun Home

May 3, 2015

Inside this less-than-"Fun Home" of deception and repression is an exceedingly endearing and relatable cast of characters. Sydney Lucas, Emily Skeggs, and Beth Malone star as Small, Middle, and Adult Alisons, respectively; while their individual mannerisms and inflections may not depict a consistent character, their passionate performances work well enough together to amount to a moving “portrait of the cartoonist as a young woman” (or what have you). Stage and screen veteran Judy Kuhn likewise shines—or, more appropriately, fades—as the Alisons’ defeated mother Helen. As her former Disney princess voice glides across a broken ballad, Kuhn shows the anguish of a wife with nothing left to sing about. Perhaps most notably, Michael Cerveris’ heartbreaking portrait of Bruce is both authoritative and impotent, loveable and despicable. [more]

Violet

May 2, 2014

An interesting and touching early musical from the composer of "Shrek," "Caroline, or Change," and "Fun Home." It may be in keeping with the notional scar, but sometimes "minimalist" fades into "generic." An inherent problem with the show, it's possible that even a small Broadway house like this one (740 seats) will always be too big. The climactic sequence, following Violet's discouraging experience in Tulsa, takes place mostly in Violet's head and as such is almost unstagable, and in any case hard to understand. Last and most problematic is that these soldiers react relatively casually to Violet's allegedly repellent deformity. [more]