The cast, who have all reprised their roles from last year’s original Donmar Warehouse production, excel across the board. The performances are anchored by Caissie Levy, whose portrayal of a woman in the turmoil of extreme mental illness is energetic but constrained. Eleanor Worthington-Cox’s Natalie mirrors that energy but in a more anarchic and unbridled way that focuses on the anger and pain she’s going through. And Jamie Parker is wonderfully frustrated and equally hopeless as the husband struggling under the pressure of it all.

Chloe Lamford’s minimalist set is the perfect backdrop for this, being impactful and practical but keeping your attention where it needs to be, on the cast. But the problem lies with the underlying narrative and the supporting music. The story is, without doubt, impactful, but is surprisingly unengaging. In covering so much, the core plot and the various sub plots of each of the characters, there’s no nuance in the narrative. Everything is laid down brashly in front of you. As a result, there’s little emotional engagement with the characters and the whole thing feels disturbingly voyeuristic.