It is hard to categorise this unorthodox and intriguing first play. It takes place in a West Midlands home within whose walls a family squabbles and bonds and, it is hinted, the absent or dead still roam. It could be a variation on domestic realism – kitchen-sink gothic, perhaps – or a new genre altogether.
The entire drama takes place in a kitchen behind a gauze fourth wall (an inspired set design by Jasmine Swan). It feels voyeuristic, as if we are twitching a giant net curtain at our neighbours, but there is also more than a hint of a Rear Window-ish thriller, too.
