Laura Wade’s Home I’m Darling has found its way back to the stage, thanks to the sterling work of Ronin Theatre. Wade’s exploration of nostalgia taken to a toxic conclusion is a compelling play, making an interesting companion piece for the writer’s own, punchier Posh (thankfully no trashed restaurants here). The work follows Jude who, alongside husband Johnny, has sought to embrace an idealized version of the 50s. This is all complicated by the fact they live in the modern world. The two cultures clash across two hours and we watch as the couple really get the worst of both worlds.

Home I’m Darling lives and dies on its central performance, and in Nicola Jones’ Judy we have a fabulous turn. Jones commands the stage, bringing warmth and heartbreak to the role and wrapping it in a deeply sympathetic take on the character. Barely off-stage throughout, Jones brings nuance to Judy with a masterclass in facial expressions, the shifts of which telling us all we need to know about the storm within her. Jones handles the humour and tragedy here with a plomb, lifting Wade’s skilled text and humanizing it.

However, there’s even more talent in the cast, with director Cate Nunn casting the play perfectly. Wade’s script gives moments for each character to stand out, rewarding supporting turns with their moment in the spotlight. Josh Wedge’s Johnny is a sweet foil to Jones’ Judy, and we feel the couple’s overwhelmed state often through his touching portrayal. Jessica Reilly brings charm and wit to best friend Fran, even as her own narrative darkens as the play progresses. Alistair Nunn is charming and repugnant as the slippery Marcus, Susan Reynolds is spikily unforgiving as matriarch Sylvia, and Eloise Sheffield’s Alex is the perfect middle between curiosity and incredulity. Our sextet is all aided by clear, effective staging from Nunn.

Further clarity is offered by a simple but effective set, with impressive use of cupboards at the back of the stage which allows for fast scene transitions, soundtracked to hits from the era. Home I’m Darling is played at a pace that never drops, effectively building the tension throughout. And special shout out must go to Catherine Woolley and leading lady Jones’ costumes, gorgeous numbers that tie neatly into the thematic explorations of the text.

And the themes explored here feel even more potent in the seven years since Home I’m Darling made its debut. Nostalgia for a cartoon of the past (called out by Judy’s mum in a barnstorming monologue) feels more pronounced, and toxic masculinity has only further poisoned and curdled. Judy’s desire to live a 50s life is deeper than the ‘tradwife’ trend that pops up on social media, complicating our response to the narrative. Judy is a richly drawn, sympathetic figure, one that may prove occasionally maddening but a figure whose side we are always on. The audience roots for her, aches for her, wants to leap from their seats and save her from her plight. Home I’m Darling wrings humour and tension from this, playing with a degree of ambiguity as we wait to see if this is a work that will fully embrace tragedy.

Ronin Theatre’s raison d'être, reviving recent theatrical gems, has once again landed on a play that has only gained richness in the years since its first staging – like the previously staged The Effect, Rules for Living and Foxfinder – and one can’t help but leave eager to see what the group does next. Home I’m Darling’s thematic richness, plus a sensational lead turn from Jones, makes this a deeply impactful evening of theatre that is not to be missed.