McColl's Morris, a wide-eyed career man with his heart in the Territorial Army, makes a nice contrast with Foley's slightly sunken Terry, in fear of losing his family. Jones's marvellously shambling performance in a dressing gown is reminiscent of Ralph Richardson. The set designs by Alice Power are economical but very focused. By the end, the stage is a pin-cushion of trap doors. Even the boards are levered up as, with inch-perfect timing, heads keep popping up where you least expect them.