BIG FEELINGS, BEAUTIFUL MOMENTS & A FEW MISSED BEATS

By Tanya Howard | Founder, The Live Review London · @glamglitzlondon ⭐⭐⭐ | Press Invite

Southwark Playhouse Borough is one of those venues that instantly pulls you in. It’s intimate in the best way and there isn’t a bad seat in the house. You’re close enough to see every flicker of emotion, every breath between lines, every tiny emotion. And for a story like Beautiful Little Fool, that closeness really matters.

The set is built around the idea of an old library archive, and while it’s visually busy for such a small space, it mostly works with the framing of the story. At times it did feel a little cluttered, especially in contrast to the nearly bare upper level, which only had a small office in the corner, but the production made smart use of the pieces it had.

Small set changes, props, costume swaps, and different accents helped transport you to new moments and locations, including a genuinely funny tennis scene in France that did have us giggling away. There’s also a live band on a raised platform to the side, which I loved. Seeing the musicians perform alongside the cast added an extra layer to the storytelling, though there was one number where the music slightly overpowered the vocals.

TALENT, CHEMISTRY & SOME SERIOUS VOICES ON STAGE

The cast are undeniably talented. Lauren Ward is a real standout. I’ve seen her before in Stalled, and once again she has that ability to pull you straight into an emotional moment. She doesn’t just sing a song; she makes you feel it. One minute you’re fine, the next, you’re quietly devastated. It’s effortless, and it’s beautiful to watch.

David Hunter plays F. Scott Fitzgerald, and Amy Parker stepped in as cover Zelda Fitzgerald for our performance. There’s a strong chemistry between the two, especially in the early moments when you glimpse their characters falling in love and full of hope. As the story progresses, their relationship begins to fracture, and both performers handle that descent well. There were moments vocally that felt slightly pushed, with notes sitting a little higher than needed, but that may well have been opening-night nerves as there were incredible moments too.

The ensemble work from David Austin-Barnes and Jasmine Hackett was also strong. They move between characters and accents with ease, helping to build the wider world around the central family without ever feeling distracting.

WHERE THE STORY SPARKS… AND WHERE IT FALTERS

Where the show starts to lose me is in the structure and storytelling. While Beautiful Little Fool offers insights into the Fitzgeralds’ lives, it never quite commits to fully exploring any one person. Zelda is clearly the emotional centre, yet even her story feels only partially told. Scott, despite his significance, feels surprisingly minimal. And while Scottie acts as our guide, her perspective could have gone much further.

Emotionally, the show works best when it slows down. A scene between Scottie and Zelda in the institution is quietly heartbreaking. You feel the guilt, the grief, and the discomfort of a child visiting a parent in that environment. Those moments are where the piece truly connects.

There’s also a late moment of anger and frustration from Scottie. A brief but powerful nod towards how Zelda was treated by those around her that hints at a deeper feminist reckoning. I wish this thread had been woven in earlier and explored more. It arrives, lands… and then the show ends, leaving you wanting more exploration rather than closure.

WHY SOME EMOTIONS LAND… AND OTHERS DON’T

At times, the characters are portrayed as so hedonistic and self-absorbed that it becomes difficult to feel sympathy for them. But when genuine connection does appear, it’s fleeting, which makes those moments feel all the more impactful while highlighting what’s missing elsewhere. There are also moments where multiple characters sing different lines at the same time. This is very much a personal thing, but I struggle to know who to focus on or what I’m meant to take in, and it occasionally pulls me out of the moment.

Overall, Beautiful Little Fool has strong foundations: beautiful music, excellent performances, and a story with genuine emotional highs. Yet it still feels slightly unfinished, more of a work in progress than a fully realised piece. Thoughtful and emotional in places, it’s worth seeing for the promise it shows and the talent on stage.

Beautiful Little Fool is running at Southwark Playhouse Borough until Sunday 28 February.

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Photo Credit: Pamela Raith