Charlie Russell in Fanny [David Monteith-Hodge]

WHILE Felix Mendelssohn (Daniel Abbott) was celebrated as a leading composer of the Romantic era, his sister Fanny’s talents remained largely hidden.

Her music was kept private or published under Felix’s name, a consequence of 19th century societal norms that discouraged women from pursuing artistic careers.

Following its acclaimed 2024 premiere at The Watermill Theatre, Calum Finlay’s fast and furious dramatisation of Fanny’s neglected genius arrives at the King’s Head with a new company, led by Mischief’s Charlie Russell, reprising her role as the indomitable heroine.

Now widely accepted as Fanny’s work, the song Italien, a favourite of Queen Victoria’s, was originally attributed to Felix. Taking this injustice as his starting point, Finlay has crafted a boisterous farce – developed in collaboration with the cast – exploring sibling rivalry, ambition and the cost of social conformity.

Their mother Lea (Kim Ismay) wants Fanny to settle down with her fiancé Wilhelm (Riad Ritchie), but she has other ideas. Chaperoned by Wilhelm, Fanny travels to London to meet the Queen with Felix, Lea, sister Rebecka (Danielle Phillips) and brother Paul (Jeremy Lloyd) in hot pursuit.

The first part of Katie-Ann McDonough’s engaging production balances humour with more serious undertones. However, the second half loses its way, leaning too far into slapstick. Multiple bit parts and the general mayhem distract from, rather than enhance, the central story.

Russell is terrific in the lead and the supporting cast perform with gusto, yet the play’s descent into silliness dilutes the emotional impact of Fanny’s struggle for recognition.

Until November 15
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