Fanny is a comedy celebrating music, family and – at last – the work of a composer overlooked because of her sex. We sat down with Charlie Russell to discuss her upcoming role.
What drew you personally to Fanny Mendelssohn’s story, and how does stepping into her shoes change your perspective on creativity and recognition?
I’m drawn to her story because Fanny was a talented woman, full of potential, who never got to realise that potential in her own lifetime due to societal pressures and sexism, which feels deeply unjust. According to many historians, she and her family prized themselves on being funny, as well as musically gifted, and I loved the chance to play such a bright, funny and dynamic woman. I used to think that fame and recognition was a direct reflection on the quality of someone’s work. Now I can see clearly that that isn’t always the way, in many cases extremely talented people have been overlooked, throughout history and sadly this continues.
Having originated the role at The Watermill, how has your portrayal of Fanny evolved as the play comes to London?
It’s exciting to return to the role and see what else can be discovered. Calum Finlay has written a fantastic new draft. I’m exploring her relationships with her different family members even more, and looking into the ways Fanny isn’t a perfect hero. I’m also a bit better at conducting now!
Mischief is known for its anarchic comedy—how does Fanny blend that playful spirit with a story about overlooked female genius?
We’re not telling a true story of Fanny’s life. There is an excellent documentary you can watch if you’d like an accurate account, I highly recommend it. (Fanny: The Other Mendelssohn) We’re telling the ‘what if’ story. ‘What if’ she had the chance to grasp power and agency in her life. ‘What if’ she’d gone on an adventure and realised her dreams. And what’s more anarchic than that? That style of comedy suits the play really well. It’s in this world, this imagined world, that we can employ fantastical ideas, surreal and silly moments, and even moments of farce to best take her on this adventure.
What excites you most about the “Noble Call,” and how do you see it extending Fanny’s legacy beyond the play itself?
It’s a brilliant idea from our director, Katie-Ann McDonough, based on an Irish tradition. Katie-Ann felt that one of the best ways to honour a talented musical woman, who’d had no platform, was to extend a platform to women musicians now. It is also a way to honour our insanely talented MD, Yshani Perinpanayagam who has given so much to the production.
Both Fanny, her mother Lea and Fanny’s sister Rebecca were known for hosting parties where musicians were given the chance to play and share their work. So really, we’re just carrying on that Mendelssohn legacy. If you come and see the play, perhaps you’ll catch the next Fanny, the next Yshani, in the making!
As both performer and Creative Associate, how do you balance your artistic instincts with shaping the production more broadly?
Working with Katie-Ann and Calum is really special. They have such a clear vision for the show, but they’re also inherently collaborative artists. Prior to rehearsal I collaborate with them on the script as a Creative, for example giving my thoughts on the story, or comedy beats. If we’re in rehearsal, working on the play then my work takes on that of an actor, developing the roles and the relationships with the other characters. I’m looking at how to best serve the play and the direction. With my Mischief experience I do have an eye on the play as a whole, and then am able to feed back to the other Creatives any thoughts or ideas I’ve had. Sometimes it’s just for a specific comedic moment, or it might be something more applicable to the play in general. But everyone’s ideas and input is welcome, Katie-Ann creates a very creative room to work in!
Fanny imagines a “what if” moment in history—what do you think theatre uniquely offers in reimagining voices that were once silenced?
I think theatre can bring alive stories in a very dynamic way. Theatre is inherently magical – we ask one group of people to sit in a room and watch another group of people pretend to be other people, right in front of them! As theatre makers we ask audiences to imagine battles, balls, magical lands, Queens, fairies, spies – we ask them to believe that people break out into song and dance, or turn into donkeys, or fly on broomsticks. When you understand that the only limits are that of our imagination, then the possibilities are endless. We can take these people from history and give them an imagined story, one that can celebrate and serve them. One that can even give them a whole new story… I like to think we give Fanny an adventure she would have relished. She deserved one.
Fanny plays at King’s Head Theatre until 15th November. Tickets are available here.