This provides the show with additional staging creativity, all of which goes to enhance the musical, with book and lyrics by Lisa Kron and a lovely score by Jeanine Tesori. My one qualifier is the same one I usually have with theater in the round, in the square, or in this case, actually in a rectangle. When cast members have their backs turned to wherever one is sitting, whether speaking or singing, they are harder to hear. Otherwise, the location switch works extremely well.

Once again the director is Sam Gold, and the cast is the same in most roles. “Fun Home,” based on the graphic novel by Alison Bechdel, looks back from adulthood on the life of a lesbian cartoonist, Alison, played grown up by Beth Malone, with others portraying her at various earlier junctures—Sydney Lucas as Small Alison and, in this staging, Emily Skeggs as Middle Alison. The musical concerns her own evolvement, artistically and sexually, and with the emotional importance of her relationship with her complicated father, Bruce, stunningly depicted in word and song by the ever-brilliant Michael Cerveris.

Alison’s mother, Helen, is played effectively by Judy Kuhn, who is having painful problems in the marriage. Bruce has been having gay escapades. We learn early-on that he commits suicide, although he is still present in the preceding action.

If the accumulation of trauma seems rather heavy, rest assured that at times it is alleviated by humor, as in an early scene in the funeral home that Bruce runs, with his children popping in and out of caskets. There is wit in the portrayal of Alison in the various stages of her life, and there are also amusing portrayals of Bruce’s sons, Christian and John, in this production played by Oscar Williams and Zell Steele Morrow.

Joel Perez has multiple duties as men in Bruce’s life, and Roberta Colindrez is cast as Joan, with whom Alison has her first lesbian affair. The Playbill still doesn’t provide a song list, presumably in an attempt to view the singing as totally integrated and expressive rather than be singled out as individual numbers. Yet one can’t help but see some songs as standards, such as the lively, bouncy “It’s All Right.”

Some may find the multi-layers in the storytelling a bit confusing at first until one grasps the pattern and appreciates the cleverness and beauty of the vision at the heart of this moving plunge into memory and how experiences contribute to whether a person can be comfortable in his or her skin.