★★★★

“a Halloween cabaret that treats audiences as intelligent music lovers rather than mere seekers of seasonal novelty”

The ‘Trick or Treat’ Cabaret at Crazy Coqs was a finely-tuned musical journey through murder songs, sung curses and other spooky delights. Singer-songwriter Michaela Betts and composer-pianist Colm Molloy performed an artfully curated playlist that included rarely performed gems from the darker corners of the musical canon. Don’t go expecting typical costume-party novelty fare—there wasn’t a “Monster Mash” in sight.

The duo kept the show dynamic and unpredictable by alternating between piano and vocals, as they performed a repertoire drawing on their Swedish Viking and Irish Pagan roots. The programming showcased the duo’s depth of musical talent and historical awareness – all delivered in an easy listening style. They balanced lighter material (including Richard O’Brien’s ‘Over at the Frankenstein Place’ from The Rocky Horror Show and ‘Scary’ by Bjork) with darker fare (including the traditional ballad, ‘The Cruel Mother’ and John Dowland’s ‘In Darkness Let Me Dwell’). The light-touch audience participation was charming – singalongs, waving light sticks and contributing candy to a trick-or-treat basket.

Whether at piano or microphone, both performers proved sensitive and dramatically acute, never overwhelming the material. This was a particularly notable achievement, given that the show was self-directed.

The guest performers were two highlights of the evenings. Molloy joined guest flautist Jacquelyn Hynes on the tin whistle for an ethereal medley of enchanting ancient Irish folk songs. Hynes’ presentation—complete with flowing red hair adorned with green fairy lights—added visual magic to match her playing. That contrasted cleverly with their second guest performer, the equally talented Sarah Kershaw who accompanied the duo on the Theremin, which provided a charming retro-futuristic interlude. The instrument’s wavering tones were supernaturally suited to Halloween atmospherics.

The staging, lighting and sound (all provided by Stella Pavoni) were flawless. She struck the perfect balance, creating atmosphere without gimmickry and ensuring every word and note landed with clarity. It’s a tiny venue with a slick operation that supported the performers to give a lovely evening’s entertainment.

If there’s a quibble, the playlist occasionally felt more showcase than cohesive narrative, though the historical context provided by the performers helped bind the eclectic material together.

Betts and Molloy have created a Halloween cabaret that treats audiences as intelligent music lovers rather than mere seekers of seasonal novelty. Their affection for each other and this music is infectious. Combined with their display of considerable technical skills, the show makes for sixty minutes of hauntingly captivating musical theatre.

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.

TRICK OR TREAT: A HALLOWEEN CABARET

Crazy Coqs

★★★★

“a Halloween cabaret that treats audiences as intelligent music lovers rather than mere seekers of seasonal novelty”

TRICK OR TREAT: A HALLOWEEN CABARET

Crazy Coqs

Reviewed on 31st October 2025

by Elizabeth Botsford

Photography by GRiFF

Previously reviewed at this venue:

Trick

Trick

Trick

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

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