FROM start to finish this production had you gripped as you were taken through the story of family turmoil for sisters Annabel and Miriam as they mourned the loss of their father, with the added complication of a live in carer, who turns out to be more than just the hired help.

The set was simply stunning. Built by Eddie and Liam Stanley, the set comprised of a back garden area complete with disused tennis court area, raised deck area and an array of trees, shrubs and general garden paraphernalia. This was as authentic as it comes and gave a real feel of being in the garden with the characters. Just amazing and used effectively at every opportunity.

With a cracking pace throughout, director Paul Ward has picked up on every nuance of this script and brought it to life with skilful direction which is complimented by the abilities of three actresses cast in these very different roles.

Ingrid Folkard-Evans is a sophisticated Annabel Chester, seemingly being in control of the many situations described in the plot. A strong performance that offered tenacity as she did her all to ensure her assumed inheritance would reach her bank account, without giving in to blackmail from the estranged carer of her late Father.

Carly Lomas shines as the manipulative Alice Moody, the care provider who, whilst plotting with Annabel’s sister, get s more than she bargained for, paying the ultimate price for her greed. Carly always offers a polished performance and this one was no different. With calm, clear delivery, we were easily reeled in, not realising what was to come at the conclusion of the plot.

Completing this three hander, Joyce Elder as Miriam was mesmerising. A full detailed characterisation was clear from the start. Dishevelled clothing, fly-away hair a manic demeanour that was consistent, Joyce made this part her own and had us on the edge of our seats as she surprised us with her next move.

Whilst individually each character made their parts their own, this was a real team effort that came across the footlights in spades. Word perfect and fully in tune with Alan Ayckbourn’s fantastic pen, this is yet another notch on the TLT bedpost of successful productions.

Paul Cohen