Amadeus’s depiction of the rivalry between Mozart and Salieri; Anonymous’s premise that Shakespeare’s plays were actually written by Edward de Vere – mainstream dramas are no stranger to stories of creative clashes and plagiarism.
But few may know that the famous Wedding March we’ve all heard while standing at the alter (or watching someone approach it) contains within it a story of both plagiarism and rivalry…and between siblings no less.
Fanny posits that the piece – assumed to be written by Felix Mendelssohn (Corey Montague-Sholay) in 1815 as part of a suite of incidental music for A Midsummer Night’s Dream – was actually co-written with his sister Fanny (Charlie Russell). And it wasn’t the only one; his song Italien was entirely hers, but was published under his name. Women, you see, being unable to publish classical music…
But when Fanny intercepts a letter to Felix from Queen Victoria, inviting the composer to perform it for her in person, she faces a dilemma – should she let her brother take the credit, or go in his stead and claim the honour that’s rightfully hers?
It might sound like the sort of dilemma few of us will ever face, but the beauty of this play is in its relatability.
Fanny is told, by her mother (Kim Ismay) and her other brother Paul (Harry Kershaw), that her role in life is to stay home and focus on running the household – a pressure that becomes more acute with the arrival of charming suitor Wilhelm (George Howard).
It’s not a bad lot – Wilhelm is charming and supportive, the family live comfortably – but should that take priority over her dreams? Especially when she realises that Clara Schumann (Jade May Lin, playing the wife of the composer Robert Schumann) is also struggling for recognition?
The play charts Fanny’s decision to take her brother’s place in front of the Queen, generating a comedic race across Europe to arrive in London before Felix. The staging and set design, while appearing relatively simple on first glance, bring this epic journey to life – shadows create rolling scenery, repurposed drawing room furniture become carriages and bars, the whole thing feeling like a child’s extended make-believe session played out in the nursery.
It’s energetic, funny and compelling stuff – but also sad, for one can never quite escape the notion that the entire journey only ever played out in Fanny’s head.
Was that the case? Did she ever achieve the fame and recognition she deserved?
You’ll have to watch the play to find out…and I strongly recommend that you do. Consistently funny and thought-provoking, brilliantly acted, and fantastically staged – “Fanny” is as near to a perfect play as I have seen.
The production runs from the 23rd may – 15th June; tickets are available at https://www.watermill.org.uk
