By Patrick Neylan As is often the case with serious plays, the interval talk was all about the set. Jan Greenhough’s austere, stuccoed and sensitively lit setting, offset by a stained-glass window, was a perfect metaphor for the heroine: a tiny lantern of colour amid the bleakness of religious zealotry and political manoeuvring. I wasn’t fully convinced by the script. On the page, Helen Edmundson’s story of Sister Juana, a playwright/poet nun pitted against the church in 17th Century Mexico,… Continue Reading Review of ‘The Heresy Of Love’
