Fun Home
Most in the arts and entertainment industry, and those in certain circles, would have long been aware of the Bechdel test, the simple tool used to assess the portrayal and representation of women in media. But until Fun Home, many didn’t know the incredible story of the test’s creator, Alison Bechdel, the now much-celebrated lesbian cartoonist from America.
Fun Home is adapted from Bechdel’s first memoir of the same title. The musical is a memory piece that documents her childhood in rural Pennsylvania living with her parents, including closeted homosexual father Bruce, her teenage years, and coming-out story in early college, shortly prior to her father’s subsequent suicide. The show won the 2015 Tony Award for Best Musical and was the first musical to ever do so written entirely by women. A failure of a totally different kind of test, I believe.
Fun Home is a bold and surprising choice for any regional theatre company in Australia. However, when it was announced by Lindsay Street Players after their acclaimed production of The Laramie Project, it just made sense - and quickly became one of this reviewer’s most anticipated shows of 2026.
Helmed by renowned queer Novocastrian Riley McLean (assisted by Ollie Abel and Cahri Ristic-Johnston), this production is a complete knockout. There is a solid chance that nothing else on the region’s theatrical slate may eclipse its utter brilliance. McLean has exquisitely staged the piece and breathed such life into an already groundbreaking work.
Bechdel herself is played by three phenomenal actresses. As Narrator, Katy Booth flows seamlessly from keen observer to devastated witness to her own story as Adult Alison. Booth’s performance glues the entire show together, and as the show reaches its pinnacle, she manages to find yet more to give.
Olivia Harrington precisely captures the confusing throes of young adulthood and queer sexual awakening as Medium Alison. Harrington balances vulnerability with a flash of adolescent bravado. She soars in Changing My Major. AJ Fitzgerald is magnetic in the youngest role of Small Alison, especially in Ring of Keys, one of the finest musical depictions of those first moments of self-understanding. Her delivery is clear and deeply moving.
Bruce Bechdel is brought to life by Evan Booth. Booth treats Bruce’s story with both sensitivity and dignity. Bruce was undoubtedly a tortured and flawed human, whom we see entirely through his daughter’s eyes, yet it’s hard not to use our own contemporary lens to cast our own feelings upon him. Like the other Booth on stage (yes, they’re married), Evan just keeps finding more to give, making Bruce’s harrowing final moments soul-crushing.
Wendy Ratcliffe’s portrayal of the Bechdel family matriarch Helen is as gorgeous as it is utterly gut-wrenching. I have long believed Days and Days is one of the most devastating songs written in contemporary musical theatre. Ratcliffe’s rendition will elicit tears from even the most stoic patrons.
The company is rounded out by Sam Lane as a number of young men who catch the attention of Bruce, Zippie Tiffenright as Joan, Alison’s first girlfriend and first sexual muse, and (at this performance) Stella Bundy and Jessica Cooper as Alison’s young brothers, Christian and John. Each are as committed as the leading company and deserve equal kudos.
McLean and their team have managed to integrate live art and digital animation (by Abel) into the show in a way I have no doubt would make Bechdel herself proud. It’s always difficult when staging source material derived from cartoons to find that fine line (no pun intended) between emulation and cartoonishness. Having characters live-drawing with chalk on the set and floor walks the line expertly, to the point those less aware of the show’s script would easily believe that’s how it’s always been intended. This is amplified by Riordan Munnoch and McLean’s lush lighting design.
Lia Bundy and Dean Selem, as co-musical directors, have found every musical strength of the company and delivered an impeccable presentation of Tesori’s award-winning score. It’s a very welcome sight to see a live band in an era when many companies are sadly, yet understandably, having to turn to pre-recorded tracks given the mounting costs of staging any form of theatre - another reason to support regional theatre whenever you can.
It is important (and I guess ethical) to note this review was based on a preview performance, not that you’d tell. It already felt like a well-polished piece. Fun Home is a must-see for any member of the queer community, ally, and theatre lover alike. It’s the perfect Mardi Gras season outing, to be immersed in local culture and play witness to an important story in queer history.
Bring your friends and tissues - you won’t regret this exceptional night in the theatre.
Joshua Maxwell
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