Fanny at King’s Head Theatre Review
Written by Philip for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Fanny and Felix Mendelssohn stand as two of history’s most prodigiously gifted composers. Yet, as so often happens, it is the man who is remembered while the woman lingers in the margins. In an era when women were expected to be seen and not heard, Felix was granted the fame and acclaim that so easily might have been his sister’s. Now, at long last, Fanny Mendelssohn is receiving her long-overdue recognition. Calum Finlay’s spirited farce ‘Fanny’ has arrived at London’s King’s Head Theatre, following its premiere at the Watermill Theatre last year, and it is as riotous as it is revelatory.
At the heart of this clever and heartfelt comedy is Fanny herself: the phenomenally talented yet historically overlooked elder sister of Felix Mendelssohn. When she learns that her brother has passed off her composition as his own—and that Queen Victoria’s favourite piece of “his” is, in fact, hers—Fanny takes matters into her own hands. With her devoted suitor Wilhelm Hensel by her side, she journeys from Germany to London to seize her moment in the royal spotlight.
Finlay’s writing is witty, romantic, and intelligent. The tone veers joyfully towards pantomime at times—a choice that proves surprisingly effective. There are peaks and valleys, both comedic and emotional, and the narrative balances empowerment with levity. Occasionally, the exuberance of the comedy threatens to overshadow the poignancy of Fanny’s struggle, but the story’s heart remains compelling throughout.
Over the course of two lively hours, we watch Fanny defy her family and the rigid social codes of her time in her pursuit of artistic recognition. Along the way, she and Wilhelm encounter a cavalcade of allies and adversaries as they make their way to London. A highlight comes in Act II, when an ingeniously orchestrated section of audience participation turns the theatre into a playground. Charlie Russell commands this moment with infectious glee, expertly riffing off the crowd. A slight onstage mishap only heightens the fun, proving that live theatre thrives on such moments of imperfection.
The ensemble is uniformly excellent, with each actor taking on multiple roles that brim with humour and personality. A standout sequence involving carriages and a delightfully absurd road battle had the audience roaring with laughter.
Charlie Russell leads the company with radiant charm and impeccable comic timing. Best known for her work with Mischief, she embodies Fanny with a sincerity that makes us believe in her brilliance as fiercely as she does. A powerhouse lead performance. Kim Ismay delivers a gloriously imperious turn as Fanny’s mother, Lea—commanding and formidable in Act I, before revealing a more vulnerable maternal side in Act II. Her cameos as Queen Victoria and a dour barmaid are particular delights.
Daniel Abbot’s Felix is compellingly cold and ambitious, a fitting antagonist whose edges soften just in time to remind us of their shared humanity. Jeremy Lloyd and Danielle Phillips bring warmth and wit to the roles of Fanny’s siblings, Paul and Rebecka, both of whom provide essential support to their sister’s rebellion. Lloyd, in particular, shines in his multirole moments, slipping effortlessly from dockworker to carriage driver to a hilariously inebriated tavern singer. While Phillip’s Rebecka is a cartwheeling absolute bad-ass. And as Wilhelm, Riad Richie offers an utterly endearing performance—a steady, romantic anchor to Fanny’s storm of ambition. Charming to say the least.
Under Katie-Ann McDonough’s assured direction, the production is both buoyant and beautifully paced. Sophia Pardon’s set and costume design evoke 19th-century Europe with a playful theatricality, while David Howe’s lighting design enhances the show’s shifting moods with elegance. Russell also acts as Creative Associate on this production and surely adds a creative know how to the production. The music, however, is the beating heart of ‘Fanny’. Yshani Perinpanayagam’s composition and musical direction breathe authenticity and vitality into every scene—a fitting tribute to a family defined by music.
Transforming a historical life into a comedy is no easy task, yet Finlay, Russell, and their creative team do so with wit, courage, and a palpable sense of joy. ‘Fanny’ not only casts light on the systemic injustices faced by women in the 19th century but also poses a timeless question: how many extraordinary women have been eclipsed by their male counterparts?
A raucous evening of slapstick, satire, and soul, ‘Fanny’ is both a celebration and a reclamation. It is clever, riotously funny, and unexpectedly moving. This is a story that demands to be heard—finally, and gloriously, on Fanny Mendelssohn’s own terms.
Fanny plays at Kings’s Head Theatre until 15th November
★★★★
