In the first play, Heart’s Desire, two parents nervously await the arrival of their daughter from Australia. The scene is endlessly repeated with variations both hilarious and shocking: with each ring of the doorbell, Churchill pulls off a surreal surprise, yet the agony of waiting also reveals the mutual detestation of the marital couple and their joint despair at their alcoholic son. It’s both one of the funniest short plays ever written and a reminder of the savagery that often lies beneath the surface of family life.

The more sombre Blue Kettle also deals with a reunion of parents and children. The difference is that the 40-year-old Derek poses as the lost biological son of four different women: we’re never sure whether he’s driven by mercenary motives or psychological need, but the originality lies in the breakdown of language, with the words ‘blue’ and ‘kettle’ being inserted into the dialogue with increasing frequency. Once again, Churchill combines experimental technique with a startling vision of the fragility of family life.