Fanny was Felix’s elder sister in the Mendelssohn family and a composer and pianist in her own right although in Victorian times that was not a career for women – their job was to marry and look after a family. Accordingly, her songs were published as being by Felix.

Fanny and Felix got on well together; Fanny gave him help with his compositions, showing him how to score the wedding march in A Midsummer Night’s Dream. In 1842, Felix played for Queen Victoria at Buckingham Palace who told him – and sang for him – her favourite of his lieder. He admitted that it was composed by Fanny, but neither he nor his mother told Fanny about this.

The first act covers the period in Berlin around 1828 with Felix, their mother Lea, younger brother Paul and Wilhelm Hensel, a former flame who had returned after some years in Italy. The dialogue was peppered with witty one-liners – reminiscent of Oscar Wilde’s style – and a string of outrageous but very funny puns from Wilhelm, and the many comings and goings added an element of farce.

After the interval, the audience were persuaded to join in with singing and music, which got very silly but was good fun. After that Clara Schumann (Jade May Lin) got added to the team as they made their way to London to perform – they hoped – for Victoria at the palace. This section, and particularly the carriage ride to the palace, was far too long and the production lost some momentum here.

There were some outstanding comedy performances: Harry Kershaw who played the bungling and put-upon Paul and Kim Ismay as a rather severe Mum. Both played various characters on the journey to London, causing chaos for Fanny and friends.

Charlie Russell brought out the complex character of Fanny very well, with great facial expressions when she was pretending to conduct (and correct) an orchestra. She and Corey Montague-Sholay as Felix had conflicting interests. He wanted her to get married and give up composing; with her growing affection for Wilhelm (George Howard) she was torn between that and her wish to continue with her musical career.

Calum Finlay was the ‘writer’, meaning it was a collaboration which evolved over five years. The set, by Sophia Pardon, who also designed the costumes, was a simple room in the Mendelssohns’ house, with a grand piano and pictures on the walls including one of Victoria and Albert which cleverly changed to show them speaking, played amusingly by Ismay and Montague-Sholay.

All in all, an excellent first half but with a second half that needed shortening.

PAUL SHAVE

Another winner at The Watermill

Callum Findlay’s new comedy Fanny, receiving its world première at the Watermill Theatre, turns the spotlight on Fanny Mendelssohn, the sister of the renowned composer and younger brother Felix. It’s a fast-paced play full of fun, wit, farcical physical theatre and wonderful performances from this highly versatile cast who embrace their characters with utter conviction.

Sophia Pardon’s panelled set covered in portraits is dominated by a grand piano centre-stage, and her costume designs are beautiful, perfectly reflecting the period.

Charlie Russell, a cofounder of Mischief Theatre, is outstanding as the feisty Fanny who received the same musical training as her brother and wrote Queen Victoria’s favourite song, Italien, that was credited to Felix. She oozes her love for classical music, conducting the audience as her orchestra with such passion despite her domineering mother’s (Kim Ismay) advice that she should focus on finding a suitable husband and forget her musical career. Wilhelm (George Howard) is perhaps not the ideal suitor, but is determined to win her hand. His many innuendos and puns are hilarious.

Harry Henshaw, playing the hapless, naïve other brother, Paul, is a joy to watch. His crazy antics are played in true farcical moments. By contrast, Corey Montague-Sholey’s Felix is filled with confidence and arrogance, reluctant to admit that Fanny wrote the Italien.

Things get more complicated when an invitation to perform the piece in front of Queen Victoria is received addressed to F Mendelssohn. Fanny intercepts it and decides to take her brother’s place in London.

The race to arrive first is true farce, with shadow projected trees creating the journey and beer barrels becoming coaches and taverns. Accompanying her is Clara Schumman (Jade May Lin), the wife of the composer. These are two women seeking recognition for who they are in their own right.

There is some clever audience participation that we enthusiastically joined in with.

Skilfully directed by Katie-Ann McDonough, with an impressive sound design by Thomas Wasley, this is a hugely enjoyable production.

ROBIN STRAPP