Review! Beautiful Little Fool at Southwark Playhouse Borough. January 2026

"A musical with much to admire — and far too much left unexplored"

Beautiful Little Fool has all the makings of a brilliant musical: the story of F. Scott Fitzgerald’s tempestuous and fiery romance, which arguably formed the backdrop to one of the greatest novels of all time, paired with a score that looks forward — blending pop, rock, and even a hint of country and under the helmsmanship of 4 time Tony Award nominee Michael Grief, it is a great disappointment that this show did not live up to the adjective of Fitzgeralds most famous character.

Using the framing device of their adult daughter Scottie, who tells the story of her parents through their diaries and writing, we are presented with their romance — from their initial meeting before Fitzgerald enlists in the war, to their early successes in writing, and the ultimate breakdown of their relationship. Despite their story featuring alcoholism, mental health issues, and infidelity, the writing actively skirts around these topics in a way that tries to be forward-thinking but is ultimately juvenile in its approach. “The only thing my mother is known for is having a mental illness,” exclaims Scottie, in a manner that suggests the show is frightened to unpack the true struggles of Zelda. 

From a musical point of view, Hannah Corneau has written a score that aims to be progressive in its stylings, and she undoubtedly has an ear for a power ballad. Zelda’s yearning “Built to Last” is a standout moment — it’s where the show finally finds its stride as a piece of musical theatre, and, in my opinion, the only moment where the music truly enhances the narrative. At times, however, I was left longing for the crowd-pleasing tunes of the more recent Great Gatsby musical.

From a performance point of view, Amy Parker, who stepped into the role of Zelda, gives an impressively soulful performance that offers the audience a genuine way into the character. With an authentic voice that brings to mind Jessie Mueller, Parker is, in my opinion, the show’s strongest asset — and if there is any emotional throughline, it comes from her. David Hunter, best known for his role as Dr. Pomatter, brings a natural sense of pathos to F. Scott Fitzgerald as he descends into alcoholism and wrestles with his insecurities about achieving lasting literary credibility. It’s a shame, however, that he isn’t given a signature song to truly showcase his musical talent. Praise is also due to the West End veteran who plays Scottie, bringing considerable emotion to an otherwise underwritten role.

I must also give considerable praise to Shanko Chaudhuri’s detailed and multi-levelled set design, which evokes the writing study of Fitzgerald. With its mahogany walls and intricate layers of text — from diaries to novels and drafts — Chaudhuri’s set brilliantly captures the memory-play nature of the piece.

Being the musical’s world premiere, it’s fair to say there is still a lot of potential for growth. The story is rich, and the show attempts to explore compelling themes, such as memory, the ways children remember their parents, and the idea that there is more to us than our struggles. Fitzgerald famously received extensive feedback on one of his novels from his editor, Maxwell Perkins, only to return the following summer with The Great Gatsby. Hopefully, Beautiful Little Fool will follow a similar trajectory.

⭐️⭐️

Review by Alex Farley

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Beautiful Little Fool is playing until 28th February 2026 at Southwark Playhouse Borough. Book at: Southwark Playhouse website