23 May – 15 June

Biographical plays face the common problem of how to avoid slumping into mere hagiography – unless of course the subject is notorious. In considering the life of Fanny Mendelssohn, the exceptionally talented older sister to the renowned, Felix, the approach taken by Calum Finlay and his ‘creative associates’, has given us a show of two halves. Hedging their bets perhaps, part one takes us into the comfortable, bourgeois Berlin drawing room of the Mendelssohn Bartholdy family where the obstacles to a young woman developing her talents in any way other than as ‘ornament’ are laid out by Fanny’s mother (Kim Ismay). Tradition, as ever, proving to be a prison for women. (The Bartholdy element of the family name having being added by the father, Abraham, much to the children’s disgust, in an attempt to play down the family’s Jewish origins. Plus ça change!)

Charlie Russell as Fanny is bursting at the seams with creative energy, a megawatt dynamo with nothing to power but a small torch. Her frustration is turned inwards to indulging in fantasy concerts in which she is the conductor.

Felix (Corey Montague-Sholay) is shown as being luke-warm towards Fanny’s professional aspirations as a composer, being far more focused on his own career. He does however allow her to publish music using his name and is considerate enough to confess that Queen Victoria’s favourite piece is his sister’s work.

Help comes in the form of long-time suitor Wilhelm Hensel (George Howard) the tone deaf, but supportive artist and incorrigible punster. To the relief of Fanny’s mother, Lea, Wilhelm returns after doing the Grand Tour untainted by any whiff of Catholicism. Wilhelm subsequently agrees to accompany Fanny (who is pretending to be Felix) to England, at the invitation (to Felix) of the queen.

Part two sees a change of gear and a change of style as the little group that now includes her friend Clara Schumann (Jade May Lin) travel to England. Comedy shades into farce as the exigencies and vicissitudes of travel necessitate cross-dressing and interaction with the locals. A portrait of Victoria and Albert comes to life and Clara is persuaded to identify Fanny as Felix. And yes, they do manage to fit in a ‘fanny’ joke (to muted groans from the audience). This section of the play is more inventive, slicker and is a much better use of the talented cast. It’s a shame the ‘creatives’ didn’t have the courage to cast the whole play in the same mould.

Nonetheless it is a witty and entertaining tribute to one of European culture’s suppressed and faded voices.

★★★☆☆    Graham Wyles   30 May 2024

photographers credit @ Pamela Raith Photography