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The story of Scott and Zelda Fitzgerald is a love affair and a tragedy seemingly made for the stage. He was a brilliant writer who descended into alcoholism and was largely forgotten by the time of his death. She was his muse, and possibly his collaborator, who died in a fire at the asylum where she had finally found some measure of peace. Together, they came to symbolise the Jazz Age, that feverish period of reckless hedonism between the world wars, driven by aimlessness and quiet despair. In Beautiful Little Fool, their story is narrated by their only daughter, Scottie, as she wanders through an archive filled with the remnants of her parents’ lives. One of the challenges of dramatising real people is shaping a narrative that serves a clear purpose while leaving out biographical details that, though intriguing, do not fit thematically. The musical never fully overcomes this challenge. Unnecessary anecdotes, such as the story of Gertrude Stein coining the term “Lost Generation,” appear without meaningfully advancing the plot. The use of a narrator also creates distance between the audience and the central figures, leaving the piece’s focus unclear. It is uncertain whether the heart of the story lies in Scottie’s relationship with her parents or in the marriage of these two compelling individuals. The book would benefit from significant reshaping and a sharper sense of focus. The musical numbers are similarly underwhelming. Rather than offering a fresh interpretation of music from the Roaring Twenties, the score relies on a conventional contemporary sound dominated by a relentless rock beat. Heavy-handed sound design flattens the voices, pushing them into shrillness and draining them of nuance. As Scottie, Lauren Ward delivers a finely judged performance, conveying both deep affection for her parents and the emotional damage they inflicted. Her work is subtle and affecting, although occasionally undermined by blunt somewhat banal lyrics such as “Call it love. Call it truth. Call it hate.” David Hunter and Amy Parker, as Scott and Zelda, give solid performances but struggle to generate genuine passion. The Fitzgeralds’ volatile and intricate bond is reduced to frequent shouting and a few unconvincing romantic scenes. The staging introduces further challenges. With the band occupying half the stage and most of the action confined to the other side, sightlines are often compromised, likely frustrating some audience members. Beautiful Little Fool draws on rich, dramatic material, and framing the story through a daughter’s perspective is a promising concept. However, in its current form, the production feels unfinished. It is more like a draft still searching for clarity and emotional depth than a fully realised musical.
Rated: ★★
Reviewed by J.C.
Photo by Pamela Raith
When, Where, Getting there:
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