The Rover is set in Naples during Cromwell’s reign. Amongst banished cavaliers eking out an existence as mercenaries, and women evading society’s restraints in the freedom of carnival. And Ingram’s coup de théâtre sets that fiesta on fire with Cuban-style music by Grant Olding and incendiary dancing. She also movingly draws out Benn’s feminist concerns, smuggled in amongst the laddish action.

A full synopsis is essential to understanding, but the main story is of two young warriors, cousins, intimate friends and captives of war. Their mutual devotion evaporates, when both fall in love with a beautiful girl seen from their prison window. One is released and takes to the woods to remain close to his dream of love, whilst the other is freed by the gaoler’s daughter.

How has The Alchemist remained funny, slick and bang-on social target for four hundred years? Well imaginative productions like this one directed by Polly Findlay certainly help burnish its reputation. Essentially, however, Ben Jonson’s play will continue to be comic gold, as long as there are greedy, lustful and gullible people in the world.

Here is some of the best of Shakespeare’s late poetry, and in Innogen one of his finest female characters. And if the final act resolves more confusions and coincidences than six Dickens’ novels, it transmits an end glow of love, reconciliation and forgiveness which is truly cathartic . . . Here is some of the best of Shakespeare’s late poetry, and in Innogen one of his finest female characters.