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.

Stage-to-screen review: Tartuffe (BBC iPlayer)

Next up in my digital theatre catch-up is a production I'm pretty sure I had been due to see at the RSC's Swan, but had to skip when I got ill. A couple of years later Iqbal Khan's production of Tartuffe moved up to Birmingham, where Anil Gupta and Richard Pinto's adaptation is set, and that's where it was filmed for the BBC. Molière's farce is a satire on religious hypocrisy, and here the con-man posing as a holy man becomes a fake Imam, manipulating and destroying a well-off British-Pakistani family for his own ends. In place of a servant we have a Bosnian cleaning lady, Darina (Olga Fedori,) who acts as a chorus figure and outside eye on the Pervaiz family, whose patriarch Imran (Simon Nagra) has been charmed by the wise and pious words of a seemingly homeless man he met at the mosque. He's invited him to live in the family home, and pretty soon he's reliant on Tartuffe's words for every decision he makes in his life.

Theatre review: Infamous

For a small studio theatre, albeit a very central one, Jermyn Street Theatre gets to premiere new work by some well-known playwrights; although on recent form there does seem to be a reason these particular works don't find a more mainstream home. The latest is April De Angelis, whose Infamous is a weirdly unenthusiastic look at Georgian celebrity (and regular Blackadder punchline) Emma Hamilton. We first meet Emma (Rose Quentin) in 1798, the young wife of the septuagenarian ambassador to Naples. A former prostitute who climbed the social ladder as mistress to various powerful men, she's already achieved some notoriety as a close friend of the Neapolitan royals, whose influence makes her husband favour them over his own country's interests. But it's nothing compared to the infamy she's got planned.

Theatre review: The Comedy of Errors(RSC / Barbican)

The RSC reopened last summer with the production that was in rehearsals when it had to close in 2020, minus its original star cast, and in a temporary venue designed to make the audience feel confident that they were getting adequate airflow: Phillip Breen's The Comedy of Errors premiered at an outdoor theatre in the RSC's gardens. This very different origin feels relevant as the production transfers to London and the sometimes unforgiving Barbican stage. This is the one with the two pairs of identical twins: Antipholus of Ephesus (Rowan Polonski) and his servant Dromio (Greg Haiste) have lived in Ephesus since they were babies, unaware that they arrived there shipwrecked, and that they each have an identical twin brother in Syracuse, coincidentally with the same names. The Syracuse pair were raised by their father Egeon (Antony Bunsee), so they do know about their brothers, and have been searching for them for some years.

Theatre review: The Whip

It's been a lacklustre Swan season so while its final production, Juliet Gilkes Romero's The Whip, isn't without flaws I still found it the strongest offering. The title comes from the nominal lead's position, as Alexander Boyd (Richard Clothier) is the Chief Whip for the ruling Whig party in the early 1830s, but as the issue that defines his time in Parliament is the abolition of slavery in British colonies the title inevitably has a much more sinister double meaning. Boyd's initial mission is actually the reform of child labour in British factories, but he's diverted onto the abolition bill that's been dragging through Parliament for years. Slavery might never have been legal in the UK itself but the Empire's wealth comes from allowing it to continue in its colonies, and the West Indies are its last bastion. Finalising a deal hasn't been easy because too many politicians have a personal interest: Boyd is chosen to champion the cause as one of the few MPs not to be a slaveowner himself.

Theatre review: A Museum in Baghdad

Wars in the Middle East have taken a horrific toll on human lives; sometimes just as well-publicised is the loss of archaeological sites and priceless historical artefacts to collateral damage, looting and wanton destruction. Hannah Khalil's A Museum in Baghdad explores the tricky ground of trying to weigh out the relative value of lives and history. In overlapping scenes it follows two women, one historical, one fictional, both trying to launch the same titular museum eighty years apart. The nation of Iraq was created after the First World War out of various warring tribes in the region then known as Mesopotamia, under a king installed by the British rulers, and the understanding that it would be granted independence once the country was on its feet. Archaeologist Gertrude Bell (Emma Fielding) was one of the architects of the country and its laws, and when we meet her in 1926 she's in the process of setting up a central museum of treasures that tell the story of the region's history and cultural significance.