FANNY

King’s Head Theatre

★★★½

“The cast’s evident delight in working together makes the production shine”

When Queen Victoria sang her favourite Mendelssohn composition, she had no idea the piece was written by Felix’s older sister. Fanny by Calum Finlay transforms that artistic erasure into a madcap domestic comedy. Audiences will embrace its energy, humour, and unapologetically loud celebration of a brilliant woman fighting to be heard.

Fanny Mendelssohn is trapped in an impossible bind. She’s a brilliant composer who must focus on marriage prospects rather than her musical talent. Fanny intercepts a royal invitation for her brother Felix to premiere a new work for Queen Victoria. Determined to take his place at the palace, Fanny unleashes a charmingly chaotic, laugh-a-minute escapade.

Finlay’s achievement lies in his astute portrayal of family dynamics. Felix (Daniel Abbott) is the confident golden boy coasting on privilege; Paul (Jeremy Lloyd) is the misunderstood, unappreciated brother; Rebecka (Danielle Phillips) is the younger sister, seething with frustration; and Fanny (Charlie Russell) burns with a talent that puts her at odds with familial expectations. Mother Lea (Kim Ismay) anchors the production. A thoroughly accomplished actress, she holds the ensemble together. The cast’s evident delight in working together makes the production shine.

But the true star is Charlie Russell who pulls the audience into her world with charisma, infectious energy and intelligent comic precision. Her fantasy orchestral conducting sequences are transformed by Movement Director Phao Wheatley into theatrical gold – these and the various chase scenes are production highlights.

Of course, one of the show’s great treats is the score itself. Yshani Perinpanayagam’s musical direction brings the Mendelssohn compositions to soaring life – whichever sibling penned these pieces, the music is glorious. Audiences will leave eager to hear more.

Each cast member takes several roles, so costume design (Sophia Pardon assisted by Emily Nelson) is particularly important. Pardon deftly manages each outfit change, subtly orienting the audience with unspoken messages about social class and location. Pardon’s set design and use of props wring maximum effect from an evidently minimal budget. David Howe’s lighting enhances the story as it twists from the inner world of Fanny composing to family dynamics to outside scenes.

The production’s weakness lies in not trusting the story to make its own point. There’s no need to spell out the moral lesson in additional speeches. This holds the production back from four-star greatness.

Still, this remains highly entertaining theatre. Think collaborative inclusivity rather than West End slick. Director Katie-Ann McDonough brings audiences into the creative process, helming a spirited, joyous production ideal for school trips or families with older teens. This is accessible comedy that raises serious questions about artistic ownership, feminism and work/life balance. The audience participation – representing orchestra sections – generates the laughs and collective investment that younger audiences will love. Be prepared for loud, energetic theatre that won’t suit every mood but will delight those ready to embrace its exuberant spirit.

The traditional Irish Noble Call is planned to follow each performance – inviting female-identifying musicians to share their work.

Fanny Mendelssohn deserved better than history gave her, and this production goes some way towards righting that wrong.

FANNY

King’s Head Theatre

Reviewed on 16th October 2025

by Elizabeth Botsford

Photography by David Monteith-Hodge – Photographise

FANNY

LINCK & MÜLHAHN at the Hampstead Theatre

★★★★

“Wilson and Bain are remarkable, deftly switching between the comedy and the subtler, more poignant moments”

Linck and Mülhahn is billed as an epic romance inspired by the true story of an 18th century gender pioneer. I expected it to be an interesting story, and an important one. What I did not expect, was for it to be funny. But funny it is. Very funny.

Much of this is down to Ruby Thomas’ script, which is both witty and bawdy, full of inuendo, and lightning-fast flirting. Owen Horsley’s direction pumps the play with energy, and it races along, aided by punk rock scene transitions by sound designer Max Pappenheim. Despite the heavy subject matter, the play rushes along with zest and spirit.

All that survives of this true story are the court transcripts, documenting Anastasius Linck’s life and their gender non-conformity. Ruby Thomas has framed this story as a romance between Linck and Catharina Mülhahn. There are shades of the screwball comedies in these lovers’ fast-paced flirtation. Both are radical, passionate about the contemporary political philosophy and enjoy a racy joke. Their sizzling romance begins with the feisty young Mülhahn (Helena Wilson) gawping at the dashing Linck (Maggie Bain) through a window. Her unabashed lust, and boldness, is refreshing in a period drama. Throughout the play the dialogue crackles out from the era, making the characters feel so real, it’s easy to forget they’re all long dead.

Both Wilson and Bain are remarkable, deftly switching between the comedy and the subtler, more poignant moments. A particular highlight of both performances is a quiet scene where they bathe one another. Their chemistry and connection are the heart of the play and there is no doubt that these two belong together.

Another stand-out performance is from Lucy Black, as Mülhahn’s mother. It’s a fascinating character, she is bitter, trapped in her internalised conventionality but hopelessly bored and lonely. Black seamlessly navigates the complexity of this role, making her at once both a villain and a victim of her own era.

Simon Wells’ set is modern and evocative. It is a revolving two-storey structure made of veiled screens and doors, which often light up in different colours, courtesy of lighting designer Matt Daw. This creates an illusion of privacy in more intimate scenes, but also the sense that their privacy is as flimsy as the screens themselves.

There are moments where the comedy muddles the emotional punch, especially in the second half. There is also a narrator, which at times feels melodramatic, and unnecessary given the strength of the story itself.

But it is a great story, and this play has spun it in a way which feels fresh, and vibrant. This is not the story of a downtrodden victim. It is the bold and unapologetic cry to leave shame behind and live your own truth.

FANNY

King’s Head Theatre

★★★½

“The cast’s evident delight in working together makes the production shine”

FANNY

King’s Head Theatre

Reviewed on 16th October 2025

by Elizabeth Botsford

Photography by David Monteith-Hodge – Photographise

Previously reviewed at this venue:

FANNY

FANNY

FANNY

LINCK & MÜLHAHN at the Hampstead Theatre

★★★★

“Wilson and Bain are remarkable, deftly switching between the comedy and the subtler, more poignant moments”

Linck and Mülhahn is billed as an epic romance inspired by the true story of an 18th century gender pioneer. I expected it to be an interesting story, and an important one. What I did not expect, was for it to be funny. But funny it is. Very funny.

There are moments where the comedy muddles the emotional punch, especially in the second half. There is also a narrator, which at times feels melodramatic, and unnecessary given the strength of the story itself.

But it is a great story, and this play has spun it in a way which feels fresh, and vibrant. This is not the story of a downtrodden victim. It is the bold and unapologetic cry to leave shame behind and live your own truth.

Reviewed on 6th February 2023

by Auriol Reddaway

Photography by Helen Murray

Previously reviewed at this venue:

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