Astrid Fisher is talking live to her followers from her pink attic, where she is confined by her husband because he wants to keep her safe. She’s quite delighted to be there – after all her role as a Tradwife is just to make babies anyway – and it will all be so much better when her husband arranges her lobotomy to remove any need to worry. Her supposed idyll is shattered when Leah swings through the window to rescue her from what she assumes is real danger.

But, rather than being the victim she appears, Astrid has a much more sophisticated understanding of what she is doing than Leah realises. “Brand” is the term that Astrid insists on, a corporate term applied to influencers and to a life that is now a business. The two have become meshed; if the life you live is determined by rules laid down by your sponsors, how much is it really still yours? It has isolated Astrid by estranging her from her family, and especially her sister, who leads a very different lifestyle with which she can’t afford to be associated.

Writer Laura Clare Browne has captured that ubiquitous voice of the social media influencer with its faux friendship and insincerity, and an intelligence twisted into justifying the life she has committed to. Jen Clarke brings a vitality and honesty to Leah. She is a perfect foil – perhaps naive in the ways of modern social media, but someone who has determined to live her life true to herself, whether that is valued by the masses or not.

There is subtlety in the shifting interactions between the two women. How does Leah appeal to the real Astrid, when no-one is quite sure who that is any more? And how do you get through to someone who doesn’t want to see, when they don’t believe any evidence you present, because they know how to fake a life so well themselves?

I’m not entirely convinced by Astrid’s reasons for some of her choices, though perhaps she just finds it impossible to back out of any aspect of her constructed life without the whole house of cards falling down. The script moves seamlessly from satire and the comedy of mismatched protagonists, to a genuine affection which creates real tension by the end. This is a very funny play with serious ideas of how much we buy into the fictions that we tell ourselves – one that will reveal more layers to you the more you think about it, and think about it you will.