Review: The Untold Fable of Fritz, Rosemary Branch Theatre

As part of this year’s Camden Fringe, one of two productions scheduled for family and children’s audiences is The Untold Fable of Fritz by Unsettled Theatre. This 50-minute piece for those five and older is a revival of the 2022 production, inspired by Philip Pullman’s short story Clockwork. The ensemble company of three – Paige Canavan-Smith, Emma Read and Anais Fallow – offer audiences something akin to classic narrative-led storytelling, mixed with moments of improvised energy – perhaps mischievous mayhem is a better description – incorporating puppetry, multi-role character work and a smorgasbord of theatrical styles and ideas.

The story takes us into the snowy mountains where the people of Brutzenvien live under the rule of their King. The drama begins when the King’s son, Fritz, falls ill and, when no one in the village can help, the pair climb higher into the dangerous mountains in search of the mysterious Dr Feldgiester.

A bare stage welcomes us, with a series of classic theatrical props – crates, a suitcase, a stool and empty picture frame, a clothes rail with a white sheet draped to one side – all deliberately positioned. A guitar is prominently lit, signalling that song and music will form part of the journey. The talented cast sing with skill and lovely harmonies, although the music is one area where the production’s awkward dramaturgical and aesthetic mix becomes apparent. The songs arrive around 20 minutes into the piece and then return at various points, culminating in a heartfelt ballad that brings the show to a close. But alongside the original music, we also encounter a series of very familiar songs used as soundtracks to the action. There is a beautifully precise shadow-puppetry sequence as the King and Fritz ascend the mountain through a snowstorm in their sleigh, for example, but it is accompanied by The Animals’ ’House of the Rising Sun.’ Later, Fritz descends from the mountain, sadly without his father, in another skilfully crafted sequence of puppetry and object manipulation using the multi-purpose clothes rail, this time accompanied by Boston’s ’More Than a Feeling.’ You have to ask why? The effect is more distracting than enhancing, pulling us away from the story rather than drawing us further into it.

There are, however, some lovely theatrical ideas throughout. The opening is particularly intriguing: our actors arrive on stage and, in a precise, clownish and presentational style, suddenly realise there is an audience. They act out their fears, apprehensions and casual Coke-drinking indifference as they prepare themselves to perform. It is funny and intriguing, but sadly this playful theatrical device is never returned to, leaving the sense that there are several ideas like this in the production that could be developed further give greater cohesion.

At its heart, though, this is a story of loss and redemption, sacrifice and coming to terms with past mistakes. Within the comedy, that heartfelt message does land, just, and the three performers bring plenty of skill and commitment to the telling. With some judicious cutting, a little more dramaturgical focus and a clearer sense of how its many theatrical ideas connect, The Untold Fable of Fritz could give its strongest moments more room to breathe. As it stands, it is an engaging and energetically performed piece with some lovely flashes of theatrical invention – and a story at its heart that deserves to be allowed to shine a little more clearly.

Original Devisers: Paige Canavan-Smith, Anais Fallow, Tom Wheeldon & Natasha Rszyka-Onions
Director & Dramaturg: Tracy Canavan-Smith
Stage Manager & Technician: Beth Scott
Puppet Design: Mikayla Teodoro
Song Producer (Mayhew at the Village): Alessandro Grasso

The Untold Fable of Fritz has ended its performances as part of the Camden Festival, and can be seen again at the Bread and Roses Theatre on the 3rd and 4th of October as part of the Lambeth Fringe.