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

Donal the Numb

The Vaults

Reviewed – 6th March 2019

★★★★

“packs some great ideas into an enjoyable hour of dancing, singing, jokes, balloons and cartwheels”

Criminally, this was my first time at VAULT Festival, the “carnival of experience” where for eight weeks a year, London theatre-goers can head underground to see an amazing array of theatre, comedy, cabaret and more. The festival aesthetic is pure urban decay with shows chalked up on boards and posters filling every gap, and it’s certainly a cool environment to explore. As shows go, ‘Donal the Numb’ was an intriguing way to lose my VAULT virginity. At once funny, sad, and wince-inducing, Ross White’s one-man-show is an honest and moving exploration of how human beings deal with distress.

Donal has come all this way to put on a show. He’s a medical marvel, a freak, a Daily Mail sensation. And he’s ready to tell his story. A sensitive child, Donal quickly learns how to bottle and store his more extreme emotions. Ignored by his older brother Eoin and bullied in high school, he develops a strange numbness to everything. He can literally feel nothing. No pain when he breaks his leg on sports day, no joy, no sadness. As his family begins to breakdown and disappear, will he ever manage to get his feelings back?

As the sole performer, Ross White effortlessly blends Donal’s vacant numbness with an array of different characters. From his kind and caring mother singing ‘Thank You For The Music’ to a stern religious father whipping out biblical jokes, Donal’s memorable family form the emotional core of this story, and as we hear more and more of their worried voicemails (outstanding work from voice over artists Ellen Whitehead, Odhrán McNulty and Michael Shea), the gravity of Donal’s condition begins to sink in.

The set design (Liam Bunster) is sparse but fun, with a circus-style Donal poster, balloons and red carpeted steps welcoming us to the carnival. Director Katie-Ann McDonough has drawn out the comedy in White’s movements and character choices, but these could still be physically and vocally more defined. Donal’s gruesome attempts to feel pain sent the audience recoiling in horror and, oddly, become one of the most thrilling aspects of the show.

Donal is not an exception however, there’s a Donal in all of us. His family’s story ends in tragedy, and Donal can only stare out at his audience, challenging them to feel something that he cannot. But how often do we bury down our emotions, shy away from them? How often do we let silence mask what we really feel? Donal teaches us to indulge, share, and be open to change.

Touching and funny, this slender play packs some great ideas into an enjoyable hour of dancing, singing, jokes, balloons and cartwheels. Catch it while you can.

Tag Archives: Katie-Ann McDonough

FANNY

★★★½

King’s Head Theatre

FANNY

King’s Head Theatre

★★★½

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