Michael Grief's new 'flop' musical (Beautiful Little Fool)

Between rent, next to normal, dear Evan Hansen, war paint (yes war paint) etc. I believe this man is a genius.

So to have a brand new show in London is almost like a dream come true, but unfortunately the show just doesn't work. It is staged like a brand new musical, it has a brand new score, some good performances. Even the concept of the show is appealing.

"Told through the eyes of their adult daughter Scottie, Beautiful Little Fool tells the story of Zelda and F. Scott Fitzgerald: brilliant, tempestuous and infamous."

Is how it is positioned, but make no mistake the whole reason I believe the show exists and why Michael Grief directed this show is precisely because of this. See, there are two shows - there is the story of the parents who are for the most part (but not exclusively) the people singing the score. But it's not the 'real' show. The 'real' show is actually a subtextual look at the trauma caused by the subtextual abuse of her parents living such a such a strange life.

This means that for almost the entire show, the real 'star' is more like a Bobby in Company - played brilliantly by Lauren Ward whose facial expressions would rival Alice Ripley in 'next to normal' looking upon most of the show and her parents with anguish. Her parents are devices more to explore this journey. So yes, brilliantly it means that there are always two layers of the show happening. A face value telling of her parents' story but always as well the subtext of what this means for the daughter and her relationship. And there are some cool moments where suddenly she is playing the daughter in context (think Kimberly Akimbo vibes), has a role in singing the score etc.

It's so Michael Grief isn't it.

But I just don't think it works because the material isn't there to support the interesting concept. The score is not dead on arrival - there are some pleasant and interesting musical moments and melodies. But not enough and not to carry through the show. The music is better than the lyrics, which isn't saying much. The title song felt like it was meant to be a poignant and emotional moment like 'next to normal' but fell flat. And I thought some of the sincere moments with Lauren Ward's character were very underwhelming musically (i.e. her performance comes through with her acting and facial expressions not the singing material).

Hannah Corneau, who wrote the score and stars as Zelda was actually off on opening night and the performance I saw. Her understudy was excellent, Michael Grief knows how to cast.

The reviews and especially word of mouth has not been kind. I do not expect any further life for the show personally. But I wonder if it will get a little bit of a mini cult following for niche fans.

Updated On: 1/26/26 at 07:56 AM

After watching the proshot of Next To Normal, I'm beginning to get disillusioned with Michael Grief as a director. I think he's good at recognizing and attaching his name to great material, but when he gets his hands on it, he directs it in a very shallow, surface level way. Many of the criticisms tied to Rent or Dear Evan Hansen or Next To Normal are more to do with the direction than the actual texts of the shows.

Spoiler for Next To Normal below:

Melissa25 said: "I have felt some remorse because I really did not care for the staging of The Notebook. I think the score deserved so much better in terms of a production."

He had a co-director on that show, Schele Williams of THE WIZ. As for who did what, we may never know.

My understanding is that the text for next to normal and dear Evan Hansen had substantial influence under his direction, next to normal very different before he came onboard and he said dear Evan Hansen does not have any songs now that existed when he joined. So I believe that credit for this is implicitly in other awards a director wouldn’t normally take credit for (even though I think this is good directing).

Same for performances. At this stage I think it’s too much of a coincidence to not recognise that many of his performances are cast well, and even Alice Ripley herself said it was through his direction that she got to the outcome (she described them tweaking and tweaking until he’d say stop that’s it). So think of the original RENT cast, Alice Ripley and Marin in next to normal, Ben Platt (and Sam T) in DEH, Idina in if/then, Patti and Christine ebersole in war paint etc.

Even if he doesn’t get the credit I don’t currently believe that the material or performances are working, generally in spite of him, I personally believe it’s the opposite though clearly he isn’t always succeasful.

Some directors are not "flashy" but bring enormous dramaturgical skill to the table, which is what I've always associated with Greif. People similarly cite Lloyd Richards' influence on August Wilson's best plays, and Dan Sullivan's influence on Proof, Rabbit Hole, and other new plays.