Rounding off the cast are Lauren Patel and Omar Malik as newlyweds Ange and Tony, respectively. Patel gives a truly genius comic performance as the ditzy and blissfully unaware Ange, who starts off as charmingly gauche before transpiring into something altogether more unbearable. Malik's portrayal of Tony is expertly handled with his monosyllabic stoicism, providing the perfect foil for both Beverly and Lawrence.

“Increasingly mixed and cosmopolitan” are the words Lawrence pointedly uses to describe the changing neighbourhood in his indirect attack on Tony during the play's tense second act. Originally, Leigh's intention was to highlight the friction between the classes in suburban London. However, by casting an Asian actor, the tension between the two characters takes on a whole new meaning, adding a pertinent contemporary relevance, that I found deeply disturbing and evocative 

From a production point of view, the whole affair is boldly designed. As a director, Fall decides to step back and place the emphasis on the actors and the writing, allowing both to flourish. Her direction is assured and authentic without ever becoming overly flashy. Praise must also go to Peter McKintosh's set and costume design, which cleverly invokes the garish nature of a 1970s suburban house without becoming too over the top.

Overall, this is a classy revival of a text that has not wavered throughout the years and still remains as funny, embarrassing, and powerful as it did in the 1970s. "Just a top up?" Go on then!