Set design was also by Banks and it was clear that every detail was meticulously considered from the materials used to depict the “slinkiness of Soho” to structural decisions allowing gaps to be used as portals from the past to the future. At times, the set somewhat hindered the fluidity of the production, and it was jarring to see a stagehand conspicuously switching props through the translucent gauze of the already clunky sliding set-pieces. Furthermore, the use of these doors during scene transitions, which although were effective during quick changes or character hopping, stilted the naturally chaotic narrative by fractionally over-staying their welcome. However, vintage video design (by Sam Diaz) fully utilised the performance space and, along with sound by Ben and Max Ringham, triggered life-reference with both original music and iconic songs of the past five decades.

Susan Kulkarni’s costume design was surely no easy task. Managing to not only encapsulate five decades of trends, but also to allow quick changes aplenty in the 85-minute piece was remarkable. From Corral’s baby doll dress to Walter’s knitted cardigans, the costumes were authentic, attentively fragmented and straightaway transported us to the era being reflected.