Chris Bush is an award-winning playwright, lyricist and theatre-maker. Her many credits include Hungry, Not the End of the World, Rock/Paper/Scissors, Faustus: That Damned Woman and the book for the award-winning musical Standing at the Sky's Edge.

'Bittersweet, uplifting and profoundly enlightening, this deeply felt drama brings remarkable clarity to some knotty and tremendously contentious topics... seamlessly blends song, surreal imagery and realistic dialogue scenes... it works brilliantly... Bush fearlessly examines the gulf between the experiences of trans women and women assigned female at birth. The arguments that follow are lacerating, but ultimately, the play's message is hopeful and universal'

Chris Bush is an award-winning playwright, lyricist and theatre-maker. Her many credits include Hungry, Not the End of the World, Rock/Paper/Scissors, Faustus: That Damned Woman and the book for the award-winning musical Standing at the Sky's Edge.

'Bittersweet, uplifting and profoundly enlightening, this deeply felt drama brings remarkable clarity to some knotty and tremendously contentious topics... seamlessly blends song, surreal imagery and realistic dialogue scenes... it works brilliantly... Bush fearlessly examines the gulf between the experiences of trans women and women assigned female at birth. The arguments that follow are lacerating, but ultimately, the play's message is hopeful and universal'

Chris Bush is an award-winning playwright, lyricist and theatre-maker. Her many credits include Hungry, Not the End of the World, Rock/Paper/Scissors, Faustus: That Damned Woman and the book for the award-winning musical Standing at the Sky's Edge.

'Bittersweet, uplifting and profoundly enlightening, this deeply felt drama brings remarkable clarity to some knotty and tremendously contentious topics... seamlessly blends song, surreal imagery and realistic dialogue scenes... it works brilliantly... Bush fearlessly examines the gulf between the experiences of trans women and women assigned female at birth. The arguments that follow are lacerating, but ultimately, the play's message is hopeful and universal'