Alison Bechdel is one of the brightest living authors of our day. Her revolutionary style and perspective has given a voice to those whom have been oppressed almost into a whisper. Her transcendental, genre-bending influences have been adapted into a variation of mediums that most creatives would only dream about. Stemming from the “artist colony” childhood of her youth, she has been lauded in nearly every community in which she is a member. From the Great White Way to the Sunday New York Times, Bechdel’s almost mythical presence in the modern creative community is well deserved. In Fun Home: A Family Tragicomic, we are taken on a journey through a non-linear flashback of Alison’s childhood, drawn as a parallel in a memoir-like manner of her father, a closeted bisexual.The adaptation of Bechdel's memoir into a Broadway show has resonated throughout multiple communities, therefore I argue that when similar scenes are compared side by side, there is an equal if not more so poignancy within the musical Fun Home as there is in the graphic novel by utilizing the actors themselves and the multi-emotional and malleable characteristics of music.