⭐⭐⭐ (Three Stars)

The 2020s mark a century since the Roaring Twenties, an often-glamorised era of partying and excess famously documented in the novels and stories of F. Scott Fitzgerald. Directed by Michael Greif, Beautiful Little Fool - a new musical currently receiving its world premiere at Southwark Playhouse Borough - transports us back to this time and explores the lives of Fitzgerald and his wife through the eyes of their daughter, Scottie, as she reflects on her parents’ turbulent relationship following their deaths. While the production has an intriguing premise, is no doubt stylishly mounted, and showcases strong performances, it is let down by disappointingly repetitive lyrics, as well as its slow pacing and lack of scope.

The musical begins with Scottie Fitzgerald (Lauren Ward) announcing that, despite drinking being prohibited in the Fitzgerald archives where she finds herself, she’s pouring herself a drink (or two, or three). The audience learns that, having recently turned 48, Scottie is now officially older than either of her parents ever lived to be, and we spend the next hour and forty minutes in the archives with her as she unpacks their lives - documented in books, papers, and letters - in an attempt to process her upbringing. Ward captures Scottie’s emotions brilliantly throughout the show, bringing both the wisdom of the adult character and the childlike outlook of her younger years.

Through the documents Scottie finds in the archives, we watch as F. Scott Fitzgerald (David Hunter) meets and begins a relationship with Zelda (played by Amy Parker at the performance I saw, but usually portrayed by Hannah Corneau). What begins as a romantic and passionate relationship becomes increasingly strained as time progresses and F. Scott receives fame and acclaim for his writing, despite much of it being based on Zelda’s work. The Jazz Age parties give way to F. Scott’s alcoholism, which plagues him for the remainder of his life. Hunter brings charm and humanity to his portrayal, although the material provided for his character in the book by Mona Mansour feels somewhat underdeveloped.

Zelda, meanwhile, does not receive the recognition she deserves for her input into her husband’s writing, instead being told that she has only done her job when she gives birth to the couple’s daughter: a moment at which she remarks that she hopes her child will be a “beautiful little fool”, a quotation that F. Scott Fitzgerald famously incorporated into his novel The Great Gatsby and which also gives this production its title. Increasingly sidelined and underestimated, Zelda is eventually institutionalised and undergoes treatment for schizophrenia in a hospital she would never leave. Parker, as Zelda, fantastically captures a woman trying to lead a fulfilling life in a society where she does not have the same privileges as her husband. One of her most powerful and emotional moments in the production comes when her teenage daughter visits her in the psychiatric hospital, during which Parker performs one of the stand-out numbers of the show: Built to Last.

Unfortunately, not all the musical moments in the production live up to this standard. There is some really lovely music written by Hannah Corneau, sung by excellent vocalists and performed by the four-strong on-stage band. However, the songs are largely let down by their lyrics, also written by Corneau. So many lines are repeated ad nauseam that it becomes difficult to tell whether the intention was repetition for effect (in which case this was not achieved) or whether time constraints led to an over-reliance on repetition in place of fully developed lyrics. When original lines are introduced, they sometimes offer an opportunity to heighten emotional stakes or nod to famous lines and characters from Fitzgerald’s books, but these moments are few and far between.

One aspect of the production that is sure to impress, however, is its stunning design. The set by Shanko Chaudhuri feels luxurious within the intimate Southwark Playhouse space. Comprising two levels, the Fitzgerald archives are beautifully realised on stage, with shelves full of books and stacks of documents piled high on desks. Additionally, Ben Stanton’s lighting design is impressive also, with warm lamps giving way to dramatic (at times almost blinding) lighting at pivotal moments that heighten the stakes effectively.

Overall, Beautiful Little Fool is stylish and attractive but rarely manages to dive much deeper than a surface-level exploration of its subject matter. Without an interval, the 100 minute production feels something of a marathon, but without the emotional payoff one would hope for. Let down by repetitive lyrics, the songs are a particular weakness, despite some lovely music and fantastic vocals from the cast. There is a message about the treatment of women in this era that extends beyond the Fitzgerald family, but unfortunately it comes too late and feels too much like an afterthought to be meaningfully delivered.

Beautiful Little Fool runs at Southwark Playhouse Borough until 28th February 2026.

Tickets Available Here