★★★★☆ The play could easily be titled Deceit and the multiple betrayals, which pop out like nested Russian dolls ultimately leave little in the way of scar tissue beyond a kind of irritated bafflement that certain things went on or, more irritatingly, were known about by the ‘injured parties’ who kept schtum. It shows a society which has thrown away the moral compass, at least as far as sexual manners is concerned, in light of a new moral landscape where ‘betrayal’ seems to be the norm

★★★★☆ For those unfamiliar with the precursor to this stage version of a film by the same name, the plot is a simple one: how to mend a broken heart. The heart in question is that of singer/songwriter, Guy (Daniel Healy), whose girlfriend has upped and gone to the Big Apple and left him bereft of his muse and all but willing to make matchsticks out of his guitar which he discards like an unloved wet sock.

★★☆☆☆ This adaption by Carl Grose sets the action in the 1950s on a stormy Bodmin Moor and true to the melodramatic roots proceeds to bash the audience around the chops with plot details. If the dénouement wasn’t quite predictable neither was it shocking, despite much flashing of lights and thunderclaps.