Stef’s adaptation is more like a thriller than an old classic. She’s dusted it off and she’s been wild with her imagination and let herself really roam inside Ibsen’s mind and what he is really trying to say here. The play is set over three different time periods. There’s one which takes place in 1918, one which is in 1968 and one which is in 2018. Just last Christmas. Each of those moments has been an iconic moment in the journey for women’s liberation in some form. 1918 is the year of suffrage, it’s the end of the First World War, it’s game changing for women, that moment. 68 was obviously the year of abortion being legalised and The Pill coming into common usage. Contraception. These historical moments that changed the way that women could be in society and very recently of course we are going through this Me Too movement and we’re reassessing how far feminism has come and how far it should continue to go. And what is amazing about what Stef’s done is show us a window into three different women’s lives at those three very particular times. I think it is also really galvanising. It is a call to arms. It’s unashamedly asking of the audience who do we want to be today, how do we want to treat our women, how do we want to see women in society. And it provokes us and plays with us in the most brilliant theatrical way. It’s really empowering for female audiences to see female stories on stage and that’s really important. So I hope that lots of women come and see this play and recognise themselves or recognise people that they know, or interrogate that for themselves but I also think that women’s stories are universal stories. In the way that men’s stories are universal stories. So I would hope that everybody who comes to see the play finds something in it for themselves. We’re going to be jumping time, we’re going to be jumping character. But we are going to be delivering the essence of a powerful and heartfelt story about love and loneliness and personal choice.