The full house which greeted Trevor Nunn’s revival of this 1951 piece by Noel Coward could be attributed to what? The drawing power of the Master, or that of its leading actors – Patricia Hodge, Caroline Quentin or Rory Bremner?

Nunn’s handling of this satirical piece, regarding British obsession with “class” (at a time when the post-war Labour government was striving for equality), allows the play to move from a mannered drawing room comedy to a robust farce.

The peaceful established order of a stately home is broken when the heir announces his engagement to a famous movie star. It is the machinations of his mother, Lady Felicity, to break up that relationship which form the bedrock on which the comedy hilariously builds. Hodge’s portrayal of her ladyship is comic timing at its best and does full justice to many exceedingly witty lines.

Comedy also comes for Quentin, as Moxie her personal maid with a secret. Her scenes with Cresswell the butler are both comic and touching.

Bremner, making his acting debut, imbues the character of Cresswell with a dual personality. The formal Jeeves manner and voice give way to a more human, matey portrayal – both are full of fun.