Director Jeremy Jenkins and assistant director Hunter Shanahan have mercilessly cast seven shockingly funny performers that turn Noel Coward’s tight-lipped English comedy into a playground.

Ruhl’s play is about the lovers, sure, but with the introduction of Eurydice’s Father, the play then becomes something more ­– a meditation on memory, and loss, and love, and what it means to be a daughter to a father.

As a former goal defence, Play On was everything. It reflects the realness of finding friends, love and jealousy amongst one another, and the familial bond that is created.

Walking into Nowhere Fast —with its tagline: “The insecure alpha male. The hysterical office slut. The unhinged incel. The cool girl” — you know you are about to witness a hectic dynamic.

I take a deep, frustrated breath when people refer to others in the theatre as 'family': why are we a family? Through what process or context, do friends, perhaps strangers at first, get to the big F-word label?

It’s like a night in with that sophisticated friend who you only see on rare occasions.

Little touches like “tomorrow gives me no time to prepare”, mention of knafeh, the hometown of Ipoh, checking if necessary to take off shoes at entrance, and sitting on cushions enhanced the play with cultural details.

Following The Academe Dream through SUDS’ time-travelling musical about student journalism.

Heat Lightning burns with intensity and emotion, with a cast of universally strong performances full of humour and vivacity that elevate Cardis and Johns’ direction.

MILFs. Sandworms. Arguably incestuous love triangles mediated by shotgun. Arracket did it all.