Some fabulous vocal performances in The Fabulist

The Fabulist is a new show (opera? musical?) based on the music of Giovanni Paisiello, the classical Italian composer who died in 1816. It is revived into the modern day with book and lyrics by James P. Farwell. Well I say modern day, this show is set in 1929 in Mussolini’s Italy on a film set run by 2 sisters, one of whom is looking for love, and one of whom wants nothing of the sort. This show describes itself as a “playful new musical with an operatic edge”, but I would say there is far more than an “edge” of the operatic. If you go and see this show, go in expecting to see operatic songs and music with some dialogue in between them, rather than anything akin to a new modern musical. I know for me it took me a few moments to re-adjust my expectations once the first song began. 

There are some really strong vocal performances in this show, with particular shout-outs to Lily De La Haye as the uptight director/auteur Cassandra, and Reka Jonas who plays her soft hearted sister Clarice. Both gave incredible performances both vocally and physically and really helped to sell the emotion and playfulness in the script. All of the performances are very heightened and melodramatic, sometimes veering into panto-esque territory, and I do think this perhaps could have been dialed back a bit for a few moments to give the show more variety in tone.  

The story is a classic romantic comedy but as a consequence of this it is very much full of cliches and is entirely predictable throughout. This may have been intentional and an ode to other comedic operas and plays, but it does mean this show does not have too much about it which makes it stand out. The show’s title “Fabulist” refers to essentially very good magicians, and Dan Smith performs some cool magic tricks on stage, but these were sadly limited in scope and on occasion went on too long. I admire the work to perform “real” magic tricks on stage which you might see at actual magic shows, but as magic is actually real in the world of this show, some more theatre magic might have helped to sell the fantastical nature and given more gravity and spectacle to the show. With other magic themed shows being a long running feature of the London theatre scene now, more could perhaps be attempted here to help match the new elevated audience expectations for what is possible on stage.

This show also has some pacing issues, with the middle section of the show, before and after the interval, seeming to lose all momentum and far too much time is spent pondering faux political concepts rather than driving forward character or story. It is all done quite entertainingly, but after a while you do just start to feel like you are waiting for something of actual consequence to happen.The interesting and eclectic set, and faultless to my ears musical performances work well in a smaller theatre such as the Charing Cross Theatre, and certainly help to give the show a real sense of professionalism and polish.

In conclusion, there are some definite high points in this show, but unfortunately not enough to keep general audiences entertained throughout, and I would not recommend this as anyone’s introduction to musicals, opera, or musicals with an opera edge. However, if you fancy seeing something a bit different from the usual offerings and want to watch some very accomplished opera singers live, then this is a show I can recommend for you.