But he urged members of the community to come forward with evidence they feel could be vital in helping secure convictions. In an age when news is readily accessible, Jewish News provides high-quality content free online and offline, removing any financial barriers to connecting people. She says this presumably to argue that old narratives must be challenged so that hitherto silenced voices can be heard, though without worrying if this version of Anastasius might be silencing the real one all over again.

Until Catherina’s mother grows suspicious about Anastasius’s true identity and sets out to destroy their newfound happiness. AN EPIC LOVE STORY INSPIRED BY THE REAL LIFE OF AN 18th CENTURY GENDER PIONEER PREMIERES AT HAMPSTEAD THEATRE Extremely funny imagining of a queer relationship from the 1700s, inspired by historical court transcripts.

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After a year at drama school, Bain has worked consistently, although before landing "the most wonderful supportive agent" it could be isolating. Ruby Thomas’s sparky historical play is dulled by its messaging. The subject is a married couple who lived in 18th-century Prussia but who were tried when it was discovered that the husband was born a woman and was then executed for sodomy (I know). Owen Horsley directs at Hampstead for the first time; his credits for the RSC include the recent double bill of Rebellion and Wars of the Roses, as well as Maydays and Salomé. Ruby Thomas’ epic and playful modern love story is inspired by eighteenth century court records and the extraordinary true lives of this gender pioneering couple. It follows her two sold-out plays for Hampstead Downstairs: The Animal Kingdom ('pure theatre’ – The Guardian) and Either (‘marks Ruby Thomas out as a daring and exciting new voice’ – The Arts Desk). If I’m honest, we probably tried too hard. Which is why I think that the community was very disappointed that having begun a prosecution, we ended it.”

Crucially, three actors – barely adapting Katrina Lindsay’s sober costumes – become a myriad characters, multigenerational, epoch-leaping, gender-defying. Michael Balogun, Hadley Fraser and Nigel Lindsay morph as ingeniously as the first cast. They are the three Bavarian brothers and they are their American descendants. With a bend of waist and wrist, a simper or a glare (this is a man-oriented show) they become their wives; with a whimper or treble voice they turn into their children; a dying man transforms into the doctor who tends him. Poetic licence is given by Catharina’s final grandstanding speech to the audience in which she asks “What is the good of speaking the truth if one cannot change it?”

Price was also keen to stress that the CPS worked extremely closely with the community on crime issues, and had a good understanding of the issues at stake, with the help of Jewish prosecutors.