★★★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.

THAT BASTARD, PUCCINI!

Park Theatre

★★★★★

“Do not miss this show – it is a masterpiece”

What does it mean to be an artist? Is it an occupation or a way of life? In James Inverne’s triumphant new play, That Bastard, Puccini! (directed by Daniel Slater), we meet two great Italian composers of the 19th century and get an insight into what might have been their motivations – and sacrifices – to not only create, but to be crowned the best. The result is a witty and deeply moving piece of theatre that celebrates artistry.

Puccini (Sebastien Torkia) and Leoncavallo (Alasdair Buchan) live in Milan at a time when composers are all trying to claim the spot as “the new Verdi”. When Puccini filches Leoncavallo’s idea to write an opera inspired by Henri Murger’s novel Scènes de la vie de Bohème (Scenes of Bohemian Life), they enter a public race to see who can complete their opera first in what will later be known as the “Battle of the Bohèmes”. What’s remarkable about this show is how seamlessly the text, directing, design and acting work together to establish a unique mode of performance. The characters themselves know they are in a play to present significant moments from the rivalry to the audience. It’s a bold but brilliant choice by Inverne and Slater, supported with beautiful costume and set by Carly Brownbridge and exquisite lighting by Katy Morison. Here, the stage becomes a space that deposits the composers’ public competition alongside their private pressures.

The show starts in a living room with an enraged Leoncavallo telling his wife, Berthe (Lisa-Anne Wood) that Puccini has stolen his idea. Under a bright spotlight, Puccini enters to eavesdrop on their discussion and occasionally offer his own input to the audience – Leoncavallo and Berthe cannot see him. Puccini barks protests and throws his hands up in defence to the audience until Leoncavallo turns to greet him and the spotlight on Puccini goes off – NOW he has entered the room. And the sweeping destruction of the fourth wall continues. A great moment is where Puccini turns to Berthe and asks her to momentarily play his wife. “There are only three of us! Then you can go back to being Berthe.”, Puccini urges her. Through similar dramatics, the characters present other key players in the story. Torkia is mesmerising as Puccini. He is deliberate with every look, gesture and spoken word. He turns the simple act of sitting down into a grand event with the sharp flick of his coat tails and tenacious crossing of the legs.

The living room is a storytelling apparatus where multiple spaces can exist at once. The actors rearrange furniture to create a café or high street, supported with a smooth shift in sound (Yvonne Gilbert). The red curtain doubles as the proscenium arch of an opera house. And Puccini and Leoncavallo often shoo each other away from the piano with a sarcastic “Do you mind?”. The intention behind setting all the exterior spaces against the domestic backdrop of a living room visually reinforces how the artists’ rivalry invited trouble into their home lives. With the time crunch, you can feel their urgency throughout. For one composer, the race is thrilling – something he can feed off to create his music. For the other, it’s a potential career disaster. Both artists will persist. As Puccini repeatedly says, “The art always comes first”.

That Bastard, Puccini! is a thoughtful play that captures the thrills and challenges of the creative process. It is an existential exploration of how artists can be consumed by their work and what they are willing sacrifice to become one of the greats. Do not miss this show – it is a masterpiece.

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

THAT BASTARD, PUCCINI!

Park Theatre

★★★★★

“Do not miss this show – it is a masterpiece”

THAT BASTARD, PUCCINI!

Park Theatre

Reviewed on 15th July 2025

by Lara van Huyssteen

Photography by David Monteith-Hodge

Last ten shows reviewed at this venue:

THAT BASTARD

THAT BASTARD

THAT BASTARD

JOIN US