Theatre review: American Psycho

The Almeida will continue to have shows programmed in the Rupert Goold era running for the rest of this year, but for his final show there as director he does what Rufus Norris did when exiting the National, and revisits a hit musical he directed there just before taking on the Artistic Director job: Here that means American Psycho, Roberto Aguirre-Sacasa (book) and Duncan Sheik's (music and lyrics) adaptation of Bret Easton Ellis' twisted satire of capitalism. Patrick Bateman (Arty Froushan) is the archetypal young Wall Street broker working in Murders and Executions (or is it Mergers and Acquisitions?) flashing the latest tech, fashions and products to show how well he's doing for himself. But for all that he's the go-to man at his firm for questions of 1980s etiquette, he always feels sure someone else is doing just that little bit better than him.

Theatre review: Fanny

Felix Mendelssohn is the 19th century German composer best-known for the Wedding March, but he's just the most famous talent in his family, not the only one. Calum Finlay's Fanny sets out to correct that, putting his older sister centre stage. Fanny Mendelssohn (Charlie Russell) is at the very least an equally talented composer, perhaps the secret behind her brother's success as they often consult each other when stuck on a composition. But his erasure of her contribution may go beyond not acknowledging their collaborations, as he's also published some of her work under his own name, including a piece Queen Victoria famously pronounced her favourite. For now, though, the family's concerns are more domestic, as an old flame of Fanny's has returned to Berlin.