Review: FANNY, King’s Head Theatre

Photo credit: David Monteith-Hodge

If this reviewer had a penny for every production they’ve seen in the last year about the sister of a famous historical composer whose own prodigious talents are overlooked because of her gender…they’d have three pennies. Which isn’t enough to buy an interval drink, but it’s weird that it’s happened three times.

After the concert premiere of Mozart: Her Story at Drury Lane last year, and Saving Mozart at The Other Palace earlier this year, the latest offering in this specific genre of reclaimed female narratives comes in the form of Calum Finlay’s new comedy Fanny. Finlay’s play takes a more liberal and fantastical approach to revised herstory, imagining a uproarious comedic adventure in which Felix Mendelssohn’s sister Fanny disguises herself as her celebrated brother to take his place at a concert on the invitation of Queen Victoria.

Finlay’s script is charming and witty, and mercifully steers away from laborious lecturing, letting the characters and the story speak for themselves. This play is a perfect vehicle for the sparkling talent of Mischief co-founder Charlie Russell, who brings effervescent energy and charisma to her role as Fanny. Also credited as Creative Associate, Russell’s influence on the irreverent comedy driving this production is palpable.

The supporting cast of this production are all strong, but notable standouts are Kim Ismay as Fanny and Felix’s long-suffering mother, alongside hilarious cameos as Queen Victoria and a mercenary barwench, and Jeremy Lloyd as the youngest Mendelssohn sibling Paul.

Director Katie-Ann McDonough adeptly steers the cast through a busy script that juggles physical comedy and witty wordplay, although some moments of poignancy and earnestness could be leaned into a bit more.

Musical director and composer Yshani Perinpanayagam alongside movement director Phao Wheatley work harmoniously to create a musicality in the movement onstage, notably in Fanny’s composition sequences when she conducts an invisible orchestra.

Calum Finlay’s propensity for comedy is remarkable – the script is tightly packed with jokes and each character is drawn with feeling, nuance and purpose. There could be some refinement in the structure of the play, some paring back on the puns, and maybe a bit of shaving around some of the first act to get Fanny on her journey with a bit more expediency. The show feels like it is pulled in a few different directions en route – however, it lands in the right place with a heart-rending and soul-swallowing poignancy.

This show could also benefit from a bigger stage – Sophia Pardon’s set design unfortunately shrinks the space somewhat, leaving a very narrow stage to work within. The ambition and the thought behind the curtain-draped set that reveals patchy and broken walls is evident but unfortunately the ultimate finish and execution is less than impressive. A more stripped back and symbolic set that foregrounds the performers would probably suit this stage and scale of production more.

Overall, Fanny is a breath of fresh air – a bold and hilarious comedy full of heart, with a uniquely brilliant lead in Charlie Russell.

*** Three stars

Reviewed by: Livvy Perrett

Fanny plays at London’s King’s Head Theatre until 15 November, with further info here.