The German composer Fanny Mendelssohn (or the Other Mendelssohn) is this subject of another hit production for the Watermill Theatre. Fanny focuses on the titular figure and sister of Felix Mendelssohn. Whilst her brother had a rich career in 19^th century Germany, Fanny’s work has only just started to be recognised. Writer Calum Finaly has shaped a comedy out of this dynamic, focusing on a fictionalised incident as Fanny travels across Europe to face their destiny and acclaim.

Taking the central role is Charlie Russell, who will be familiar to those of us who are enthusiasts for the works of Mischief Comedy (the team behind The Play That Goes Wrong). She dominates the production in a captivating turn, surging from monologues to word play to audience interaction. It’s thrilling to see a performer take on a role that you haven’t seen them take on before and Russell’s skills elevate the production’s Fanny into an engaging, exhilarating centre of her own universe.

Around Russell is a compelling quintet. Corey Montague-Sholay spars well with Russell as Fanny’s brother and the production’s occasional antagonist. Harry Kershaw as the oft-forgotten third brother, Paul, is a delightfully hapless figure. Kim Ismay’s matriarch is full of wit and scene-stealing archness. George Howard makes much as a romantic foil, with a clear sweetness imbuing Wilhelm and his courtship of Fanny. And Jade May Lin’s Clara is a fascinating figure - a friend, confidante, rival, collaborator all meshed together in a wonderfully fluid turn. Montague-Sholay, Kershaw and Ismay have fun in some minor incidental roles, as the humour becomes broader and more caper-like after the interval. Director Katie-Ann McDonogh has crafted a delightful interplay in this ensemble and gives the piece a rollicking pace.

Finaly’s script is a witty, charming affair, playing to its performers’ strengths. It’s a lyrical work that makes up for a story that can feel rather messy. Fanny has a disjointed quality that plays against the strengths of the production, with a first act that is tightly contained to the Mendlessohns’ home and a second half that sprawls out into the wider world as the narrative morphs into a madcap dash across Europe. It never takes away from the charms of the production but does give the audience a degree of whiplash.

Sophie Pardon’s design work is as outstanding as we’ve come to expect at the Watermill, with sumptuous era-specific costuming. It is a shame that the second half mostly covers the backdrop of the Mendlessohns’ home as it really is a beautiful work. But David Howe’s skilled lighting transports across countries. The technical craft is wonderful, particularly in the moments where Fanny’s internal score (shaped by composer Yshani Perinpanayagam) envelopes the auditorium.

There is an urgency to Fanny, as it seeks to elevate a figure that did not get the attention they deserved in their lifetime. It gives a power to proceedings and to some delicately handled conversations late on. This is all captured at the end of the night, where a Noble Call takes place (and one you can sign up for), with a pair of female musicians come on stage to perform a piece of classical music. It helps to pull together the threads that course through Fanny but which the unwieldy nature of it threatens to overshadow. Yet this beautifully put together, laugh-filled production is a tribute to both its central figure and the Watermill itself, which continues to be one of the best regional theatres in the country.