Bush delves into the complexity and breadth of experiences that exist within womanhood itself; this is a deeply affective watch.

Brian Cox, as Bach, delivers a solid performance with a grandiose energy that harkens back to an older, less naturalistic style of acting.

This show excellently weaves in light-heartedness alongside the more profound, so the NT's added spectacle to abstract it feels unnecessary.

Frecknall tethers us to Blanche’s psyche in an acute way. It is as though the other characters can see the new world while Blanche cannot.

Both pieces were crafted, edited, and perfected with an attention to detail that experienced choreographers lose over time.

The winning piece felt like a technical exploration of a concept rather than a fully fleshed, impactful piece. Utterly incomprehensible.

Rami Malek is also much less likeable than I’d hoped for, his Oedipus is far from the tragic hero that I was expecting to root for.

An incredible script is only as good as the actors who perform it. Here, 'The Years' soars, as all five women deliver masterclasses.

A keen sense of relatability propels 'Barcelona' forward, for comedy thrives on real-world relatability and is redundant in its absence.

This monologue only allows a few moments of true reflection to shine through, but Butterfield does good work with the material he's given.