The Heresy of Love (Shakespeare's Globe)

While it's probably going to be a difficult sell – on the face of it, a dramatisation of the life of a divisive 17th century Mexican literary nun is unlikely to have that many people reaching for their credit cards – Helen Edmundson's The Heresy of Love, commissioned by the RSC and handsomely revived for the Globe by John Dove, proves to be an unexpectedly engrossing evening.

Sister Juana Ines de la Cruz was a highly controversial figure in her day: a talented, acclaimed poet/playwright who challenged the received notion of a woman's role within the church as little more than a paragon of purity, and Edmundson has created a robust, gripping drama around her, albeit one that suffers a little too much from the dramaturgical sin, if you will, of telling rather than showing: plot developments such as a ceremonial burning of books by priests and the descent into madness of Juana's beloved niece occur offstage and are merely reported back to us. Nonetheless, the debates between Juana and her various attackers are frequently riveting, and there is some delightful comedy courtesy of our heroine's confidante-cum-servant Juanita (a sparkling but ultimately very moving Sophia Nomvete), and a pair of clumsy yet engaging young lovers (Gwyneth Keyworth and Gary Shelford, both hugely likeable if a little too broad).

Edmundson's writing is commendably even-handed throughout so that even the potential villains of the piece (Phil Whitchurch's rigid Archbishop, who announces himself with "I was born without imagination" as though it were a virtue; and Rhiannon Oliver's desperately jealous rival Sister Sebastiana) have a humanity that commands our interest and consideration. More complex still is Bishop Santa Cruz, an Iago-like figure smitten by Juana and ultimately the biggest component in her downfall. Anthony Howell delivers a fine performance, by turns warm then chilling, always keeping us aware of the man beneath the robes. Equally impressive is Patrick Driver as Juana's confessor/friend/tormentor, torn between genuine affection and the demands of the church.

At the centre of all this is Naomi Frederick as Sister Juana and she captures the requisite passion, intelligence, kindness, stubbornness and strength of the character in a beautiful performance that matches her remarkable Isabella in the NT 2004 Measure For Measure: her final scene – defeated and broken – is heartrending, almost a female equivalent to John Proctor in The Crucible.

I saw the RSC production of de la Cruz's best known work – House of Desires – which inspired Helen Edmundson to research and write this piece back in 2005 and, despite a few reservations, I enjoyed The Heresy of Love rather more. It's ambitious, verbose, witty and thought-provoking, engaging both the heart and mind; and John Dove's well-paced, atmospheric production does it proud. Recommended.

The Heresy of Love runs at Shakespeare's Globe until 5 September. For more information and to book tickets, click here.