Review: FANNY, The Watermill Theatre

Pamela Raith

German Maestro Felix Mendelssohn was undeniably an exceptionally talented man. A pianist, organist, conductor and a composer of chamber music, symphonies and concertos. Some of his compositions remain among the most recognisable classical pieces in the world, an incredible achievement for a man who only lived to the age of 38.

A less well known name (unfairly so!) is that of Fanny Mendelssohn, Felix’s older sister, who was a musical prodigy in her own right. Several of her pieces were published under Felix’s name including “Italien” that was said to be Queen Victoria’s favourite piece of music, which is the premise for this new comedy play by Calum Finlay.

Charlie Russell gives an immaculate performance leading the company as Fanny. She has been involved in the piece since its inception, and her passion, knowledge and dedication to her heroine shine through her comical performance. Fellow Mischief Theatre Alum Harry Kershaw plays Fanny and Felix’s haphazard brother Paul and draws the eye, and the laughs in pretty much every scene in which he appears. During act two Kershaw also plays a ferryman who can only speak in rhyme, a bawdy alehouse drunkard with more than a hint of ribald humour, and a London carriage driver, all with masterful comical delivery.

Kim Ismay gives a wonderfully exaggerated portrayal of an exasperated upper class mother, despairing of ever getting her daughter suitably married off, and fussing over social and religious niceties and observances. Finlay’s considered script awards Ismay some hilarious lines particularly when playing opposite her future son in law Willhelm (George Howard) who harbours a love for puns that infuriates and horrifies Mrs Mendelssohn. The cast is completed by Corey Montague-Sholay as Felix and Jade May Lin as Clara.

It is a blessing that the piece has been written as a comedy, it keeps the pace moving comfortably, and allows the audience access into a story and an era which feel very dated in 2024. Themes of arranged marriage, social hierarchy and subservient women all feature heavily, and only Fannys determined nature and passion for her music pull her through her daydream of playing for the British Monarchy.

Sophia Pardon has made expert use of the small playing space with her clever set design, and her costumes are attractive, practical and appropriate to the period. There is a lovely full circle moment at the end where we see Fanny redressed by her castmates in the same dress she was wearing at the top of the show, giving the close of the show an “it was all a dream” feel.

Fanny is a well constructed piece of theatre, with a lot of laughs and some fabulously accomplished performances. It is an interesting story of an engaging, overlooked historical figure which will delight lovers of classical music, historical fiction and strong female protagonists.

Fanny runs until 15th June.

**** Four Stars

Reviewed by Sarah Brown

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