Unusually, the programme offered a preview of the set. This was so interesting – before setting foot into the auditorium, we were able to get a sense of familiarity with the family and their home space.

The play opens on the deck of a cruise ship: this is essentially a front-of-tabs scene and will always be challenging in any smaller theatre where space is at a premium. In this case a backcloth gave us beautiful blue skies and open water, with the ship’s wake giving a sense of momentum. Perhaps because of limited space, the modest deckchairs didn’t immediately convey the idea of cruise ship seating or allow any ‘conversation choreography’. Nevertheless, the scene was effectively set for the ‘holiday friendships’ and what came next. When the first laugh comes on the second line, you know the audience are ready to go!

Meanwhile, back at home… the setting was very well designed, with all the essential elements working securely, enabling energetic and clearly visible action. Both the front and back door were well placed, giving entrances / exits just enough time for us to consider what we couldn’t see. The TV screen was placed perfectly for the crucial and well realised tech effects. The blurring of the TV image during the imagined eviction of Elsa worked really well as a potential clue to the situation. Sound was relevant and unobtrusive, with levels just right.

Moving from the ship to the Lindels’ home setting requires one of the quickest costume changes ever – and the covering phone call scene immediately highlights one of the major challenges of the play – the use of timing: the pace, pause and energy needed for dynamic delivery. Throughout the play, there were times when this was brilliantly evident but equally there were some lost opportunities to realise the full potential of a clever and amusing script.

Jon Gavaghan, as the teenaged Alex talking to his unseen mother, got things off to a strong start, with the audience showing great appreciation of a very recognisable attitude and family dynamic. This was a well observed performance that settled and grew as the play unfolded, developing relationships with the whole family as well as with the initially unwelcome guest.

Playing Rosie, Olivia Palmer-Walker created a typical, truculent teen – tossing her curls and calling into question parental decision-making. Although her vocal delivery was a little inconsistent, there were some moments of lovely energy – for example when she arrived home with the flowers.

How to be boring – that’s the thing? Carl Westmoreland had the job of creating a character so boring that he is instantly forgettable – very tricky as he’s an actor of distinctive appearance, tall and imposing, with a face that lights up. There is no doubt that Carl has a great deal of skill, and he delivered the text with huge confidence, excellent timing and vocal security. However, this did serve to make him memorable rather than forgettable. His presence could not be ignored and this did rather skew the balance, making it difficult to reconcile the described characteristics with the actuality.

Conversely, the role of Elsa, the irresistible force of nature that meets people, forms relationships and changes their lives forever within a matter of days, demands huge presence, energy and attack. Crystal Martin played some truthful and sincere moments but overall the dynamism of the character was somewhat underplayed, begging the question of how and why everyone was so in thrall to Elsa.

Jessica Wall and Jon Brown as Debbie and Peter were well matched as a couple, both physically and interpretively – good interactions within a recognisable and acceptable relationship. Some early hesitancy gave way to more nuanced and assured performances. During the well animated delivery of Debbie’s monologue, Jessica worked the dialogue both vocally and physically to great effect. Equally significant in this scene, as in others, Jon’s controlled stillness, engaged but not provocative, enabled things to unfold as they needed to within the context of the story.

PC Junkin – what a gift for the comedy actor! Some great verbal and non-verbal opportunities – mostly pivoting around a taboo subject! Andy Sibley was obviously having fun – and why not? There were some extremely funny moments but also times when both vocal and physical delivery could have been more energetic, allowing even more of the humour to come through. For me, the choice of the ‘woodentop’ helmet added to the potential for even more amusement.

The climax of the play is an invitation to round off the story and to answer the ever-present question of – did she / didn’t she kill these people? Elsa has gone, the family are settling down for tea (or wine) and Peter is talking to the neighbour who’s been a silent and immobile presence during the whole scene. He was positioned fully facing downstage, with a cup and saucer directly in front of him. This had a twofold effect. Firstly, the face was clearly visible and therefore readable, pre-empting the realisation that he is dead. Secondly, in his falling forward, the cup and saucer were sent noisily bouncing over the floor, meaning that any remaining surprise element was lost. But as we all drew the intended conclusion, this became irrelevant.

The audience very clearly loved it all! They were fully engaged, responsive and really embracing the whole experience, even to the point of audible speculation as to the guilt or innocence of Elsa! It was indeed a most entertaining and enjoyable evening at the theatre!