The Finborough has once again performed the miracle of creating a whole world in its intimate space: this time, inter-war France, where two young girls meet and form a strong attachment. The semi-autobiographical story comes from a 1954 Simone de Beauvoir novel, Les inséparables, never published in her lifetime. Some apparently considered it too intimate, and Jean-Paul Sartre disapproved of it.

Given that Prioritise Pleasure was Rebecca Lucy Taylor’s (RLT) Back to Black, and that there’s been a lengthy wait for this new release, it’s no wonder that there’s so much anticipation around A Complicated Woman. Add to the mix her frankly jaw-dropping performance alongside Jake Shears in Cabaret in the West End, and you might be forgiven for expecting big changes. But Self Esteem knows a winning formula when she’s on to one.

“I was born with the ability and the demon to write. I have been punished for it constantly.” Written and directed by Sinéad O’Shea, this fascinating documentary is a testimony to Edna O’Brien’s rebellious talent, her prolific output – a novel a year for a while – and her star-studded socialising. It includes archival footage, some of it against the backdrop of Irish politics, as well as final interviews in which she looks frail but still glamorous in a sequined indigo cardigan, recorded by O'Shea not long before O'Brien died last year, aged 93.

Held up by the censors in India though screened at Cannes and nominated for an International Oscar, Sandhya Suri’s 2024 film Santosh serves as a bookend to Payal Kapadia’s poignant All We Imagine As Light, about women in Mumbai experiencing less hassled lives outside the city. Suri’s heroine moves in the reverse direction. 

Anja Bihlmaier returned to the BBC Philharmonic – for the first time in the Bridgewater Hall as principal guest conductor – with a programme to mark International Women’s Day, and consisting entirely of music by women composers, past and present.

On walking into Mikalene Thomas’s exhibition at the Hayward Gallery my first reaction was “get me out of here”. To someone brought up on the paired down, less-is-more aesthetic of minimalism her giant, rhinestone-encrusted portraits are like a kick in the solar plexus – much too big and bright to stomach. Could I be expected to even consider accepting these gaudy monstrosities as art?

The phenomenal global success of Six began when two young writers decided to give voices to the wives of a powerful man, bringing them out of their silent tombs and energising them and, by extension, doing the same for the women of today.

There’s not much point in having three hours worth of Shakespearean text to craft and the gorgeous Sam Wanamaker Playhouse as a canvas if you merely intend to go through the motions, ticking off one of the canon’s less performed works. The question for Jennifer Tang, making her Globe directorial debut, is what to do with this beautifully wrapped gift. The question for us is does it work. 

In a dingy room with dilapidated furniture on a dismal Sunday evening, two detectives prepare for an interview. The old hand walks out, with just a little too much flattery hanging in the air, leaving the interrogation in the hands of the up-and-coming thruster, a young woman investigating the disappearance of a young woman. Alone, with just a camera for company (we get the video feed also from hidden cameras too) she awaits the suspect for the showdown.

Does absolutely everything have to get more difficult with each passing year? Apparently so. The amount of time I’ve spent deciding which of the many truly excellent albums I’ve reviewed this year should get the ‘top prize’ has, frankly, been ridiculous. I’m not an indecisive person. And, for God knows that reason, I feel personally loyal to the artists upon whom it would have been easier to bestow this huge honour (Nadine Shah, Elbow, Joan as Policewoman, see below). I am choosing the road less travelled. Sort of.