"[1] Aleks Sierz of The Arts Desk gave the performance four out of five stars and wrote, "Each of them is vividly distinct, being linguistically agile, theatrically pleasurable and emotionally dark".
[5] In a five-star review of the premiere, Paul Taylor of The Independent lauded the "audacious, haunting and often horribly funny games the veteran dramatist is playing" in the series.
Taylor wrote that "with remarkable stealth and economy, [Bluebeard's Friends] shows how a materialist, shameless culture allows this network of hangers-on to brazen out any tendencies to self-blame."
[7] However, Rosemary Waugh of New Statesman expressed disagreement with the praise of this third work as "the great #MeToo play we were all waiting for", saying that "Glass is by far the most intriguing thanks to how it resists interpretation [...] incredibly, piercingly sad at the end, despite the fact you’re still unsure about exactly what you’ve just witnessed.
"[8] Susannah Clapp of The Observer argued, "Churchill’s elastic way with structure and the gauntlet of her ideas are so striking that there is a risk of overlooking just how comic a writer she is, and how powerful a creator of weird and credible dialogue.
She argued that Imp "seems to suggest the power of the things we keep bottled up (desire, violence, a craving for companionship), but also expresses a note of hope in the possibility for relationships even in unlikely circumstances.