A series about the bizarre shenanigans of a family of ludicrous aristocrats would seem an unlikely hit for 21st-century Sunday night telly. It worked for ITV’s Downton Abbey, though, and while that’s off air, BBC One is glueing over five million to the settee with Blandings, its adaptation of PG Wodehouse’s tales of the dotty Lord Emsworth, and his prize sow, the Empress.

Adapt a Jane Austen novel for the stage and you have a generous handful of characters and a selection of drawing rooms in which to put them. Adapt a George Eliot novel and you’re faced with a whole town of people – figures from grand houses, workhouses and everything in between. It’s quite a task, but one that Geoffrey Beevers has made his speciality. He’s already tackled Silas Marner and Adam Bede but now, in a new triptych of plays for Richmond’s Orange Tree Theatre, he takes on the big one: Middlemarch.

For their first visit to the UK, Shanghai Ballet have brought a narrative ballet based on a Chinese theatrical version of Jane Eyre. It focuses on Bertha Mason, Mr Rochester’s mad wife in the attic, whose fate has often troubled readers, though the Shanghai narrative does not ask about the economic and social conditions of exploitation, the colonialism and sexism that have trapped her.

Ballet is telling stories again. Last night Wayne McGregor’s debut as a narrator followed hot on the heels of Cathy Marston’s Witch-Hunt for Bern Ballett, both in the Royal Opera House complex, and Northern Ballet’s visit to London with David Nixon’s new The Great Gatsby. (To say nothing of David Bintley's Aladdin and even less of Peter Schaufuss's Midnight Express.)

Early on in Dangerous Edge: A Life of Graham Greene, John le Carré remembers Greene telling him that childhood provides “the bank balance of the writer”. Greene remained in credit on that inspiration front throughout his life, even while he struggled financially in his early writing days with a young family; later in life, too, he lost everything to a swindling financial adviser – the move to France was to avoid the Revenue.

Once upon a time... for a child there is always an attic, with a rocking-horse, a wardrobe, an old clock and granny’s huge chair. And there's always a story to be found there about being monstrously bad and naughty, and being forgiven. This is the delight of the irresistible staging of The Wind in the Willows at the Royal Opera House’s subterranean Linbury Studio Theatre.

What is truth? Is it fixed or fluid, personal or universal? Does it require hard evidence or merely faith? These are the areas of interest poked and prodded in this co-production between the Traverse and Peepolykus, the company which previously brought The Hound of the Baskervilles to the stage. The result is an eccentric romp through the life of Arthur Conan Doyle, a famously ridiculed figurehead for the spirit world in his later years, which ponders – none too deeply, but with immense good humour – the conflict between fideism and rationalism.

You could hardly wish for a better subject for Imagine than Jeanette Winterson. When we see her at the Edinburgh book festival, promoting her recent autobiography Why Be Happy When You Can Be Normal?, she’s got the audience eating out of her hand: they get the full "experience". Elsewhere, though, she’s quieter, reflecting on a short enough life - born in 1959, she’s only just over the half-century mark – that has been so full that Roger Parsons’ immaculate 80-minute programme took a 25-year intermission in the middle.

Confession time: I’m a sucker for a romantic reunion. When lost-presumed-dead twins Sebastian and Viola finally rediscover one another alive and well at the end of Twelfth Night, you’ll find me in tears. And, yes, the late, great Nora Ephron’s New Year’s Eve climax in When Harry Met Sally works every time. All of which makes me more than well-matched for the musical-theatre version of the epistolary romance Daddy Long Legs. Dear Reader, I remained dry-eyed.

From the makers of Little Miss Sunshine comes a funny, ethereal love story in the same vein as Eternal Sunshine of the Spotless Mind. Sunshine’s not all they have in common.