Stage-to-screen review: Jane Clegg

It's one of my own personal clichés that the Finborough Theatre approaches programming as if it's the fringe's answer to the National, with the ambition if not the budget to match. It proves true too during lockdown, with the room above an Earl's Court pub matching some of the country's biggest venues, by offering up archive recordings on YouTube for people missing their theatrical fix. Jane Clegg falls into the venue's remit that 50% of its shows be revivals of forgotten classics, as the play was a hit when it debuted in 1913, and its original star Sybil Thorndike kept returning to the title role throughout her career, but the play hadn't been seen in London since 1944 until David Gilmore's revival last year. St John Ervine's play was written with the Suffragettes in the news, and it reflects a new reality where a man might still legally be the king of his castle, but can no longer necessarily rule unquestioned.

Theatre review: The A-Z of Mrs P

You might assume the story of the first A-Z map of London wouldn't make much of a musical. And you'd be right, but not for the reasons you might think. A new show with book by Diane Samuels and music & lyrics by Gwyneth Herbert, The A-Z of Mrs P is based on the autobiographies of Phyllis Pearsall, whose company made the first detailed street guide of London since motor cars came along and made the whole enterprise all the trickier. We first meet Phyllis (Isy Suttie) in Venice as she walks out on her husband and returns to the city of her birth after many years away. With barely a penny to her name she quickly gets back on her feet making a living as a painter, but soon an alternative offer comes in from her father: A mapmaker, he now lives in New York, where he's published the first street guides of the city and wants his daughter to do the same for London.

Theatre review: Hindle Wakes

"It isn't fair, but it's usual." Stanley Houghton's story of the small industrial Lancashire town of Hindle, where three families are trying to avoid scandal, has been seen as a classic proto-feminist play, and apparently when first produced Hindle Wakes proved controversial. Given a fairly light-hearted revival at the Finborough Theatre by Bethan Dear, it's still possible to see how it could have put people's backs up in 1912, with its cheeky asides about the suffragettes amid a surprisingly modern attitude to female sexuality. When the friend who was meant to provide her alibi meets with a tragic accident, Fanny's (Ellie Turner) weekend away with mill owner's son Alan Jeffcote (Graham O'Mara) is exposed. If word gets out that Fanny's a "ruined woman" nobody will marry her, so her father Christopher (Peter Ellis) is dispatched to get Alan to do the "decent thing." But there's a complication as Alan's long been engaged to another woman.