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

★★★★

“an absolute treat”

Come Dine With Me is a national treasure of British television, having been on our screens on Channel 4 since 2005. It’s contributed greatly to the world of meme culture and is much-loved (and watched) by people all over the world. Given the success of previous television-inspired musicals, such as the hugely popular Great British Bake Off: The Musical, it makes perfect sense that someone has finally had the idea of turning this TV classic into the next big fringe musical hit.

The team comprises writer and lyricist Sam Norman, composer Aaron King, and is co-created with Nell Butler and Genevieve Welch, who both work directly on the actual TV show itself. It all starts with the TV crew – producer, camera, and sound operator – farcically falling about the auditorium as the audience take their seats. The show starts and there’s a problem: the nation loves Come Dine With Me, but ratings aren’t what they used to be, and the producer Mary (Daniele Coombe) needs something really special to happen to maintain the show’s success. The format then follows that of the TV show: four contestants take it in turns to host a dinner party, each getting a score from the others, and the winner receives a £1000 cash prize. The writers do a neat job at briefly packing this exposition into the start of the narrative, just to make sure anyone who hasn’t seen the show is caught up. What follows is a bit different though. As the nights begin the contestants are being sabotaged by someone, but who? A nightmare for the contestants, this becomes an opportunity for peak TV drama for Mary.

I’m a slight cynic when it comes to big title musical adaptations based on reality TV shows, but turns out I had nothing to fear with this one. The songs are excellent, with some cracking lyrics; Teddy (Harry Chandler) self-describing as ‘a virgin on the verge of turning into a hermit’ as a standout line.

Sure, there’s not much depth to the story, but with a slick 60-minute run time you don’t need it really. The cast give fantastic performances. Coombe’s vocals are electric and her stage presence commanding, with a semi-villainous number giving her a real opportunity to shine.

The top performance though comes from Chandler as Teddy, who plays the awkward nerdiness to perfection. He makes his body small and wriggly, and is charmingly adorable in his interactions with love interest Janey (Sophie Hutchinson). His vocals are incredible, with a rich, deep voice that is tightly controlled and a joy to listen to. I was going to add that he’d make a superb Enjolras in Les Mis, but a quick CV search shows he’s actually played the part already! And no surprise there. Chandler and Hutchinson delight with their duet singing ‘We could drink champagne, we could light a candle, we could share a meal, when the world feels inhumane.’ It’s a real highlight of the show.

Some of the characters feel more fleshed out than others. Kim Ismay is a lot of fun as the stiff upper-lipped Barbara and her song about cooking French cuisine is a hoot. It would be great to see the other contestants developed a bit further for the show’s future life, which I really hope this gets as it’s an absolute treat.

Tag Archives: Kim Ismay

FANNY

★★★½

King’s Head Theatre

FANNY

King’s Head Theatre

★★★½

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