27 August 2024 I 19:30 I Charing Cross Theatre, London
⭐⭐⭐⭐
Recently premiering at London's Charing Cross Theatre, The Fabulist is a positively life-affirming new musical (with an operatic twist)! Likened to an operetta, late 18th century composer Paisiello's compositions are extremely refreshing and light, paired with lyrically timeless writing. Overseeing early 20th century conflicts between the powers of magic and science, The Fabulist asks the audience if we really do believe. Is love an illusion? Or perhaps it will triumph under the presence of enchantment.
The plot entails Agrofontido and Pupuppini's arrival to a commercially unsuccessful film studio in Tuscany, 1929. Love is immediate in their presence, as these Fabulists (not magicians!) swoon for the ladies behind the screen, notably screenwriter Clarice. However, their romance becomes increasingly complicated, as illusionists are strictly prohibited in Mussolini's Italy, targeted and electrocuted should they disobey the regime of Christianity.
Despite threatening undertones, the shown is largely comic, supported by Paisiello's uplifting score. Based on his opera The Imaginary Astrologer, Samuel Woolf leads a stageside orchestra, sounding splendidly magnificent in a reduced capacity auditorium (approximately 150). Musically, The Fabulist opens the operetta genre to those new or accustomed to the style. Enunciated with perfect diction, I can honestly say I would listen to a soundtrack of this show for hours on repeat!
James P. Farwell's book has a nice pace to it, scripting whimsical and heartfelt scenes that demonstrate a lovely progression. On occasion, text can become slightly laboured, leading to unnecessary dialogue. Considering this production is The Fabulist's first public presentation, it feels developed and well considered. Though a more concise structure can produce a shorter, more polished run time than the current 2 hours 20 minutes.
Dan Smith is every bit as magnificent as his character Agrofontido where, working alongside illusion designer Harry De Cruz, the 'slight of hand' showcases their shared work in the Magic Circle. Audiences may have seen some before, parlour tricks to impress Clarice. Others are increasingly technical and impressive, from gravity defying objects to rapid full-costume changes, I for one am left speechless!
Performing his trusty sidekick, Constantine Andronikou's Pupuppini holds a vibrant energy that routinely delivers the smiles! Andronikou simply has one of those stage presences where you cannot wait for his next entrance. When you see the performers embracing the joy of the musical, it breathes through us all.
Sisters Clarice and Cassandra (performed by Réka Jónás and Lily De-La-Haye respectively) are otherworldly with operatic vocals. From early songs I just felt such adoration for the pair. This style of singing is always mesmerising for me, yet in such an intimate space and on the front row (practically on the stage!), the experience is so special. Réka Jónás' performance in Love Guide Me is a rare solo rendition, channelling an emotionally investing motive.
De-La-Haye's opposing role as Cassandra, a hardy 'ice queen' is extremely well performed as her tone softens with the development of magic. A really admirable, headstrong performance that binds the ensemble together. Please Forgive Me, My Dear Sister is a wonderful reflection of the pair's talent, their dynamic helping The Fabulist thrive. And with supporting performances from James Paterson and Stuart Pendred, the concept of Fascist terror under Mussolini keeps the work socially aware, an antagonised depth behind romanticism.
There is a lot to enjoy with David Sheilds' set design, creating a vision of a disassembled studio, generally fixed with a bohemian, artistic charm to it. Minor changes occur, reversing the direction of the set between a behind-the-scenes style and a film set. Although pleasing to watch, these alterations in transitions aren't really beneficial to the show, albeit not really taking anything away either. I must give credit to Fridthjofor Thorsteinsson's lighting, a strong consideration alongside the music, consistently appearing soft with complimenting colour schemes.
I understand that John Walton's The Fabulist has faced a critically mixed reception, however I left the theatre in an extremely positive mood. I reckon this is a fabulous new addition to the musical theatre scene, prompting a unique and unconventional approach to new writing. It is impossible to stop smiling in this playfully eccentric premiere!
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