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

Previously reviewed at this venue:

THE PITCHFORK DISNEY | ★★★★★ | September 2025

FOUR PLAY | ★★½ | July 2025

REMYTHED | ★★★★ | May 2025

THE GANG OF THREE | ★★★★ | May 2025

(THIS IS NOT A) HAPPY ROOM | ★★★ | March 2025

FIREBIRD | ★★★★ | January 2025

LOOKING FOR GIANTS | ★★★ | January 2025

LADY MONTAGU UNVEILED | ★★★ | December 2024

HOW TO SURVIVE YOUR MOTHER | ★★★ | October 2024

TWO COME HOME | ★★★★★ | August 2024

FANNY

★★★★★

“What comes over as too silly, too exaggerated for me on the small screen, becomes uproarious comedy gold on stage”

This gloriously silly romp is clever, joyful and fabulously funny. There are enough Shakespearean references to please those who know their Bard, and mentions of so many of his plays I thought we were going for the full First Folio. But it’s all sewn together so finely that it never jars. It’s over the top and, at times, quite mad.

There were clearly a lot of fans of the TV series in the audience, and I have to confess that I don’t really like it on television. What comes over as too silly, too exaggerated for me on the small screen, becomes uproarious comedy gold on stage. The writing is very clever, and the twenty first century allusions to everything from sexism, racism and homophobia to leaves on the line never jars. Ben Elton has a genius for this, and he’s had a lot of fun with the script. “See it, Slay it, Slaughtered.” You’ll have to see it to find out where that came from!

David Mitchell’s Shakespeare is in need of inspiration. A new play has to be written for the Globe and he has writer’s block. His young friend Kate, a delightful Gemma Whelan, who desperately wants to act, but can’t because it’s 1605, reads a book on the loo. Books that Shakespeare steals his plots from. She tries to help him with ideas and, with the arrival of an assortment of characters including African princes, identical twins, a dancing bear, and a Malvolioesque Doctor Hall, the hapless playwright eventually comes up with a brilliant new play, and the best exit line ever. Mark Heap, as Doctor Hall brings true comedy magic with his ever larger pants and alarmingly cross-gartered cod-piece and Steve Speirs overacts with glee as Burbage. Helen Monks and Danielle Phillips are a delightful double act as Shakespeare’s daughters Susanna and Judith, and Rob Rouse’s servant, Bottom looks like he’s seen it all before, and probably has. The ‘African Princes,’ and supposedly identical, twins Desiree and Aragon, have arrived in the madness that is this particular form of Shakespeare’s London after a shipwreck, and Rachel Summers and Jason Callender enter into the cross dressing chaos with gusto. Reice Weathers deserves special mention for his portrayal of Mr Whiskers the Dancing Bear, and for spending the whole evening under stage lighting in a bear suit. The cast flip from contemporary language to Shakespearean verse with ease and energy, clearly enjoying the challenge. Director Sean Foley, has a real eye for comedy, wringing every last juicy bit of silliness from Elton’s script and Alice Power’s gorgeous set and costume design give us a London and Stratford recognisable from many a Shakespeare play.

The old ‘identical twins separated by disaster who don’t recognise each other because one is dressed as a girl’ thing is further complicated by a ‘black woman pretending to be a white man pretending to be a black man so she can play Othello’ thing, in a dizzying identity confusion. People fall in love with the wrong people, hide behind tiny trees and speak in loud asides that the others on stage can’t hear. It’s all as Shakespearean as can be. And it’s all rather wonderful.

Reviewed by Katre

Photography by Johan Persson

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

Gielgud Theatre

Reviewed – 18th February 2020

★★★★★

“What comes over as too silly, too exaggerated for me on the small screen, becomes uproarious comedy gold on stage”

Reviewed by Katre

Photography by Johan Persson

The Upstart Crow

Gielgud Theatre until 25th April

Last ten shows reviewed by Katre:

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