‘Fun Home’ challenges the musical formula with powerful story

The secrets of her father (Robert Petkoff), left, haunt adult cartoonist Alison Bechdel (Kate Shindle) in "Fun Home," the Tony-winning musical at The Smith Center through Sunday. (Joan Marcus/The Smith Center for the Performing Arts)

Her feelings for Joan (Karen Eilbacher), left, inspire college student Alison (Abby Corrigan) to ponder "Changing My Major" in the Tony-winning musical "Fun Home," at The Smith Center through Sunday.(Joan Marcus/The Smith Center for the Performing Arts)

There’s no place like “Fun Home.” Not that it’s always a fun place to be.

Make no mistake, the Tony-winning musical (at The Smith Center through Sunday) offers a rich, rewarding theatrical experience.

And, at an intermission-free 100 minutes, “Fun Home” packs the most emotional power into the shortest show in recent memory — although “show” is hardly the word to describe such a depth-charge musical drama. If you like musicals that stick to the traditional boy-meets-girl, song-and-dance template, “Fun Home” may not be much fun for you.

For those who cherish musicals that dare to challenge the formula, however, “Fun Home” is definitely the place.

So welcome to the home on Maple Avenue, in small-town 1970s Pennsylvania, where the residence — and its inhabitants — sparkle and shine. At least outwardly.

More precisely, welcome to the memory of that home on Maple Avenue, as recalled by self-described lesbian cartoonist Alison Bechdel, whose graphic memoir inspires “Fun Home.”

Alison (outwardly acerbic, inwardly anguished Kate Shindle, whom you may know from her 1998 reign as Miss America — or her current post as president of the stage actors’ union Actors Equity) keeps trying to piece together the puzzle of her past.

Along with that of her father Bruce (expertly enigmatic Robert Petkoff), whose outward attainments — English teacher, home restorer, pillar of the community — can’t quite disguise a shadowy secret life his oh so devoted wife Helen (quiet powerhouse Susan Moniz) does her best to overlook.

In her quest to understand herself (and her family), Alison has the assistance of two previous incarnations: her little-girl self (plucky, piping-voiced Alessandra Baldacchino) and a college-age version (wry, achingly rueful Abby Corrigan) who, after discovering the wonders of first love, announces “I’m changing my major to Joan.”

These revelations spring to life through Lisa Kron’s time-shifting book and, even more, through the pinpoint lyrics she provides for Jeanine Tesori’s propulsive musical score. (All of which also captured Tony Awards.)

“Fun Home’s” songs aren’t the sort you’ll be whistling for days afterward. They’re too site-specific for that. But the treacherous terrain the show’s characters valiantly try to negotiate will. (Never fear, there’s also welcome comedy relief, as when little Alison and her brothers channel the Jackson Five’s groovy moves in “Come to the Fun Home,” a zippy promotional ditty for the family’s funeral-home business.)

Retooling the intimate, in-the-round Broadway production for this national tour, Tony-winning director Sam Gold maintains “Fun Home’s” clear-eyed, compassionate focus. He’s aided immensely by David Zinn’s evocative sets and costumes and by Ben Stanton’s subtly shifting lighting.

Ultimately, though, it’s “Fun Home’s” residents who’ll stay with you. They, and the musical they inhabit, may not be what you expect. But if you’re up for a visit, they’re likely to take up permanent residence in your mind — and heart.

Read more from Carol Cling at reviewjournalcom. Contact her at ccling@reviewjournal.com and follow @CarolSCling on Twitter.