Beautiful Little Fool: A Fitzgerald Musical That Lacks Spark
Following two recent musical adaptations of The Great Gatsby, the theatrical world has turned its attention to the lives of its creator, F. Scott Fitzgerald, and his wife Zelda with Beautiful Little Fool. This new bio-musical, with music and lyrics by Hannah Corneau and a book by Mona Mansour, attempts to chronicle the turbulent relationship of American literature's most iconic couple. However, despite a promising premise and notable creative involvement, the production struggles to translate legendary lives into compelling theatre.
Narrative Structure and Character Development
The musical unfolds through the perspective of the Fitzgeralds' daughter, Frances, portrayed by Lauren Ward, who reflects on her parents' legacy on her forty-eighth birthday. This narrative device, while potentially offering intimate insight, ultimately renders the show told rather than shown, resembling what one critic described as a Wikipedia page with songs. The emotional core occasionally surfaces in moments exploring the impact of the Fitzgeralds' extravagant lifestyle on their daughter, but these are fleeting.
Characterisation proves problematic, with F. Scott Fitzgerald, played by David Hunter, given little material to work with, resulting in a subdued performance. Zelda Fitzgerald, taken on by understudy Amy Parker on press night, emerges as the standout, injecting much-needed complexity into an otherwise flattened role. Supporting cast members Jasmine Hackett and David Austin Barnes fulfil underwritten parts, primarily serving to bolster musical numbers.
Musical Composition and Lyrical Content
Corneau's score, while pleasant, rarely ventures beyond four-chord pop structures, with songs that swell through Adam Rothenberg's rich orchestrations but fail to advance plot or deepen character understanding. The lyrics often feel awkwardly fitted to melodies, relying on repetitive declarative lines and platitudes. Attempts to incorporate references to the Fitzgeralds' literary works come across as superficial, lacking the sophistication expected of such material.
Occasional musical interest arises when Corneau introduces unexpected modulations, but these moments are too sparse to elevate the overall experience. The production touches upon significant themes, such as F. Scott's appropriation of Zelda's writing and the couple's mutual destructive influences, but these are gestured towards rather than explored with any depth or nuance.
Production Elements and Overall Impact
Shankho Chaudhuri's impressive set design transforms Southwark Playhouse's main space into an archive-filled environment, with bookshelves and sweeping staircases suggesting the Fitzgeralds' world of wealth and promise. The involvement of renowned Broadway director Michael Greif, known for Rent and Dear Evan Hansen, adds prestige but cannot compensate for the show's fundamental weaknesses.
The musical concludes with a simplistic affirmation of the couple's love, reducing their complex, vibrant lives—marked by glamour, intellectual brilliance, conflict, and tragedy—to sentimental schmaltz. Beautiful Little Fool ultimately diminishes rather than celebrates its subjects, failing to capture the intensity that made the Fitzgeralds legendary.
Practical Information
The production runs at Southwark Playhouse Borough in Elephant & Castle from 23 January to 28 February 2026. Performances typically begin at 19:00, with some matinees at 14:30. Tickets are priced at £28, with concessions available at £22.50. The running time is approximately 1 hour and 30 minutes without an interval.
