Playwright Lisa Kron Talks 'Fun Home' And Picks Three Songs

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Playwright and actress Lisa Kron's plays include the one-woman show 2.5 Minute Ride and the Tony-nominated Well -- which she describes as “a solo show with other people.” Her latest project is Fun Home, a musical. Kron wrote the book and lyrics for the acclaimed new musical which has just been extended through December at the Public Theater. And at the same time -- and at the same venue, for that matter -- she's appearing in The Foundry Theatre's production of Bertolt Brecht's Good Person Of Szechwan.

And while that may be keeping her incredibly busy, Kron found time to share three songs as part of Soundcheck's series Pick Three.

 

"Fun Home," based on the graphic memoir by Alison Bechdel, runs through December 29th at the Public Theater.

"Fun Home," based on the graphic memoir by Alison Bechdel, runs through December 29th at the Public Theater.

Lisa Kron's Pick Three

Robert Clary, "I'm In Love With Miss Logan," from New Faces Of 1952

Robert Clary plays a boy waiting after school for a teacher he's in love with.

"That song has its own little arc," says Kron. "[Miss Logan's] boyfriend comes to pick her up from school, and what you hear is that he sort of kisses her on the cheek, and she says, 'Not in front of the little boy!' And when they leave, then [Clary] sings the next verse, which is 'If there's one person I don't love, it's Miss Logan. If there's one person I'd like to shove , it's Miss Logan.' There's a very satisfying reversal."

Dominique Dibbell - "N'bahdy"

Dominique Dibbell - N'bahdy

 

The song is from Buried, a play written and performed by Dibbell, who along with Kron is part of the theater group The Five Lesbian Brothers.

"Dominique is - I just think she's a genius," says Kron. "This song has a sophistication and yet a naive simplicity that is kind of the hallmark of what she does, and I've had it in my music for many many years and I always go back to it."

 

Diana Krall - "A Case of You" - Live in Paris

"This recording stops me in my tracks every time I hear it," Kron says. "And it's also just the height of craft that she's so in control of it and yet it is unspooling like we've never heard it before. And the tribute - both in her singing and her piano playing: you hear the original [by Joni Mitchell] and yet you hear this sort of completely revelatory interpretation of it. It just slays me."