It does not take long to detect a growing trend of American political angst at this year’s fringe. Young playwright Justin Sherin’s piece revisits the tried and tested format of McCarthy’s America in order to explore his concerns about loyalty, friendship and love at the time of crisis. He then goes a step further and transposes the more familiar notion of office politics against the background of 1952, with the office in question being in the scriptwriting department at the Disney Studio.

The few kids in the audience were dutifully receiving lessons in modern history from their startled parents on their way out of the theatre, which was just one of the many potential achievements of this particular theatre production. Gordon Carver’s direction conjures up the world of the period with great care and a certain gusto - particularly in terms of Alixandra Gage Englund’s costumes.

The perfomances are all equally as slick despite the challenging circumstances of playing in the heat of a Portakabin. But the greatest achievement is probably the writer’s own, who obviously breaks into a new literary territory for himself but in a true Disney style, leaves us on a cliffhanger.