Hugo Glendinning
It’s a rather difficult task to describe anything that occurs in Ira Levin’s marvellous old warhorse of a comedy thriller as it contains so many twists, turns, bluffs, double bluffs, triple - even quadruple - bluffs that any description of the plot holds for only a few minutes of stage time. Added to which, nobody and nothing is exactly what they first appear to be.