Whom can we trust? Can we trust our own judgement, or ultimately be confident of our own realities, or even our own identities? These questions are explored in the 1973 mystery drama “Veronica’s Room” by Ira Levin (1929-2007). Levin, a prolific American playwright and novelist, also wrote the 1978 play “Deathtrap” and the 1967 novel “Rosemary’s Baby”.

The programme introduces the audience to four characters: the Woman, the Man, the Young Man and the Girl. We are not told their actual names and, as the play’s story unfolds, we gradually come to understand why.

In 1973, student Susan Kerner had been eating at a restaurant with Larry, her new love interest, when they had been approached by an Irish couple, apparently in their sixties. The latter had introduced themselves as John and Maureen Mackey, caretakers to the prosperous Brabissant family. The Mackeys told Susan that the one surviving member of the family, Cissie, is elderly and in dementia, and believes that it is still 1935. They explained that they have approached Susan because of her strong resemblance to Cissie’s long deceased sister Veronica, whom Cissie believes is still alive.

John and Maureen Mackey have brought Susan and Larry to Veronica’s room, in the Brabissant home outside Boston. The room has been left untouched since Veronica’s death. The Mackeys ask Susan whether – to bring Cissie some solace – she would agree to dress as Veronica, and impersonate the Veronica of 1935. Despite her own and Larry’s reservations, Susan agrees. The play then goes in unexpected, and sinister, directions. Its many twists and turns make it challenging for both actors and directors.

I cannot explain much more without giving away the plot. However, I can reveal that each actor has to become quite different as the play progresses.

I was really impressed by Travis Handcock as the Young Man. Early in the play, he portrayed to perfection Susan’s new boyfriend, who was very negative about what the other characters were doing. His later character was strong, convincing and effective, and his dialogue was clear throughout. Brett Whittingham, as the Man, was also convincing in two sharply contrasting roles.

Amy Penning introduced the Girl – the assertive if slightly immature student Susan – with spirit and style. Then, when things suddenly began to go wrong for Susan, Amy gave an impassioned and very physical portrayal of the desperately distressed young woman. I thought, however, that this part of her performance would have been enhanced by more light and shade, more variation in pace and in expression. Despite the peril in which Susan finds herself, I believe that there would be scope for such enhancement.

Stephanie King, as the Woman, did a fine job with a very demanding role. The Woman’s second character is angry, bitter and vindictive. Perhaps even this character could occasionally have been pulled back a little, but the playwright gives an actress little help with this. The climax of the play involves the Woman alone, and Stephanie delivered this magnificently.

The set (designed by Janine Evans) was perhaps a little stark, but had interesting dimensions and was fit for purpose, supporting the play’s action. I thought it a pity, though, that the external window was in the stage left wall. It becomes apparent during the play that this window is barred, but much of the audience (including me) could not see this, and it had to be conveyed by the dialogue. Connie Bram was Stage Manager, lighting design was by Nathan Hood, and sound design was by Jasmine Tolentino.

This version of “Veronica’s Room” is one act of about 90 minutes. The continuity of a single act has advantages for such an emotionally-charged play. However, Levin’s original play had two acts, which I think would also have worked well.

Keith Hutton directed the play at a commendable pace, but I thought that this came at a cost. I like to hear every syllable, and I missed a few lines, especially early in the play from the Woman with her Irish accent. With no loss of audience engagement, the clarity of the dialogue might have been enhanced had the pace been held back just a little.

Despite my few quibbles, this was a very strong production, and a credit to director, cast and crew. I saw the play on opening night, and I expect that it will continue to evolve and improve throughout the season.