Ronin Theatre is a local Oxford theatre company whose selection of productions - typically adventurous, playful, and bold - is shepherded by one central principle: all works must have been written in the last 30 years or so. This has resulted in a history that showcases the breadth and depth of modern drama.

They’ve staged plays ranging from a medical drama that questions if love is little chemical reaction (The Effect), to a brainy and claustrophobic dystopian thriller (Foxfinder) to a zany farce on Marx before communism (Young Marx), and many more. With that in mind, Laura Wade’s play The Watsons, which runs until Saturday this week at the Old Fire Station, seems like a natural fit. The 2018 dramedy ostensibly aims to adapt Jane Austen’s unfinished novel, but gets through Austen’s plot within the first forty minutes. Following this, it explodes its genre conventions by allowing the dramatist herself to step into the world she’s creating and converse with Austen’s characters.

Wade’s script is winking and warmhearted, with a knowingly meta-humor infused into the dialogue well before the author’s appearance. It openly acknowledges its debt to Luigi Pirandello’s Six Characters in Search of an Author, and relishes paying tribute to Austen’s whole canon, not just her unfinished novel. With a two-hours-plus-interval runtime, whether it feels overlong will be a matter of taste. For me, the many arguments Laura has with her characters about the nature of free will and creative license, coupled with the many philosophers name dropped within said arguments, began to feel repetitive and deadlocked. Thankfully, the plot eventually finds its rhythm again and ends on a high.

Also, that said, every scene inspired gales of laughter from the theatergoers around me, so the sag in the middle was clearly subjective.

The story was at its most delightful, fittingly, when the characters were allowed to run rampant: an impressive dance routine to a instrumental version of “Dance Monkey” (one of two incidences of great choreography in the production), a running gag about the invention of the telephone and a lesbian love story all infuse the story with texture and vibrancy.

This is also aided by the phenomenal acting. There was not a weak link in the 15-strong cast, though the biggest kudos must go to the absolutely captivating Eleanor Schofield as Emma Watson, who brought great comic timing and an Elle Fanning-esque vulnerability to her fiery and combative character. As the three prospective love interests - the awkward aristocrat Lord Osbourne (Josh Wedge), pious and humble Mr Howard (Joe O’Connor) and clever cad Tom Musgrave (Edward Smith) - the actors delivered hilariously committed and generous performances, neither overselling their roles nor missing a beat to infuse some further comedy.

Meanwhile, Catherine Woolley, Ian Nutt and Alison Cook as Emma’s cousin, uncle and aunt were unfailing comedy gold in their unbearably smug new money snobbery.

Cate Nunn as Laura also brought an instant likability and modern exasperation to her character, offering a satisfying contrast from the mannered delivery of the rest of the cast. Praise also goes to director Alistair Nunn for this choice, and the general tone of the performances, which all hit the sweet spot between earnestness and spoof: we care deeply for the characters, while still laughing at their recognizable quirks.

I can’t fault the production, really: from the costumes to the lighting and set, everything felt thoughtful, polished and seamlessly integrated. The show is a must-see for Austen fans and anyone in want of a loving look at the highs and lows of the creative process. Another triumph for Ronin Theatre.