Zelda Fitzgerald deserves more than just a footnote in history as F. Scott Fitzgerald’s 'mad, bad wife.' But here's where it gets controversial: while many have tried to elevate her to a feminist icon, Beautiful Little Fool, the latest musical attempt to capture her story, falls short of doing her justice. Directed by Michael Greif, the mastermind behind Broadway hits like Rent and Dear Evan Hansen, this production had the potential to shine. Yet, despite a talented cast and a visually stunning set by Shankho Chaudhuri, the show feels more like a missed opportunity than a triumph.
The musical follows the Fitzgeralds’ rise and fall through the eyes of their daughter, Scottie, as she navigates their archive. And this is the part most people miss: the framing device, though intriguing, raises more questions than it answers. Why is Scottie there? What’s her motivation? These unanswered questions leave the audience disconnected from the emotional core of the story. Lauren Ward delivers a poignant performance as Scottie, but even her talent can’t fully bridge the gap.
Hannah Corneau’s music and lyrics, while energetic, lean heavily on pop sensibilities, with repetitive lines like, ‘Trust is a funny thing / You have it one day and then it’s gone,’ that fail to capture the complexity of the Fitzgeralds’ relationship. Mona Mansour’s book doesn’t fare much better, offering only a superficial glimpse into what made this couple so captivating—and so troubled. David Hunter and Amy Parker (stepping in for Corneau on opening night) bring passion to their roles as F. Scott and Zelda, but their chemistry feels forced, reduced to a single heated argument on the Riviera.
Here’s the bold truth: the show’s sudden ‘damn-the-patriarchy’ climax feels unearned, especially since it glosses over Zelda’s mental health struggles—a critical aspect of her story. While moments like their tender Alabama meeting in One Night in July hint at what could have been, the ballads are forgettable, and the spark of two literary geniuses colliding is largely absent.
So, where does that leave us? Beautiful Little Fool is a well-intentioned but ultimately underwhelming tribute to Zelda Fitzgerald. But here’s the question I’m left with: Can any musical truly capture the complexity of the Fitzgeralds’ lives, or are some stories better left to the pages of history? Let me know your thoughts in the comments—I’d love to hear if you think this show does Zelda justice, or if it’s time to retire the Fitzgeralds from the stage altogether. And if you’re craving more Zelda, keep an eye out for The Fitzgeralds of St Paul, set to debut in New York this spring—maybe it’ll finally give her the spotlight she deserves.
