Theatre review: The Divine Mrs S

April De Angelis' The Divine Mrs S feels, in subject at least, like a successor to Jessica Swale's Nell Gwynn: Tracing the history of the original star actresses, we're in the Georgian era but the Restoration style of theatre still rules the London stage, and a woman can be the biggest draw and a genuine celebrity - and on acting talent alone this time, without the royal connection of her predecessor. Of course, having achieved her fame without a history of gossip and scandal, she's not immune to them once she's in the public eye. Rachael Stirling plays Mrs Sarah Siddons, member of the Kemble acting family, eclipsing her brothers in talent and popularity, but subject to the fickle moods of the papers and public that plague any woman who seems to be getting a bit too popular: Over the course of the evening we see how she can't win, and at the play's opening she's been criticised for returning to work too soon after her daughter's death.

Stage-to-screen review: Romantics Anonymous

I've more or less consigned Emma Rice to the same "I'm just never going to see the appeal" box Samuel Beckett has been sitting in, for more or less the exact opposite reasons, for years. But anything resembling live theatre is still a rarity, and Romantics Anonymous is a show that's inspired a lot of love among people whose opinion I consider worth listening to. It debuted at the Swanamaker at the tail end of Rice's notorious run at Shakespeare's Globe, and after playing at the Bristol Old Vic earlier this year it's now returned there to play to an empty theatre with the live performances streamed to computers (the platform they use, TicketCo, turns out to also have an app that works on my TV so that was better than expected.) Based on Les Émotifs Anonymes by Jean-Pierre Améris and Philippe Blasband, Rice (book,) Michael Kooman (music) and Christopher Dimond's (lyrics) musical plays out the familiar French movie trope of quirky misfits finding love.

Theatre review: Wise Children

After famously making her mark on the Globe with an innovative use of its budget, Emma Rice was controversially given a large Arts Council grant to launch her new company Wise Children, named after the Angela Carter novel she adapts for its first production. Dora Chance (Gareth Snook) narrates the story of her life with twin sister Nora (Etta Murfitt,) and particularly their relationship with their father, also one of a pair of twins. Their mother died in childbirth and their father, famous Shakespearean actor Melchior Hazard (Ankur Bahl,) didn’t want anything to do with them but, not wanting them to surface many years later and cause him a scandal, arranged for them to be financially supported on the proviso they kept quiet. The story he’s always been happy to imply is that they’re actually his twin brother’s children, and Peregrine (Sam Archer) does end up behaving more like a father to the girls (albeit an abusive one, in a throwaway part of the story that’s one of my main issues with the show.)

Theatre review: Casa Valentina

If I hadn't seen those fucked polar bears in between, this would make a double bill of Harvey Fierstein shows about cocks in frocks, and while Kinky Boots is the big hitter at the moment, for me the real heart is with Casa Valentina. Fierstein's latest non-musical play, it receives its UK premiere at The Large, with Luke Sheppard returning to direct before he revives In the Heights. It's 1962 in a remote part of New York State's Catskills, where married couple George (Edward Wolstenholme) and Rita (Tamsin Carroll) run a weekend resort that sometimes hosts hunting parties. But their main clientele, and the reason they opened the resort in the first place, is very different: George has another identity as Valentina, and the remote location provides a safe environment for him and other transvestites to dress as women in public without fear or judgement.