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Running at over three hours the result could easily have palled, but such is the energy, the joy, the overwhelming affection of this ensemble that they could have carried on all night and the crowd would still have wanted more.

Filling the gaps in the slightly hokey story with big accents and even bigger emotions (and yes, more chaps than a Etonian reunion), Wilson’s cast two-stepped their way around Alistair David’s exuberant choreography, cranking out the big tunes as they went.

Instead, its examination of psychological torment and emotional paralysis derives from his own mental health struggles, the legacy of a traumatic family history as the son of German-Jewish refugees.

Kempinski’s drama now looks a little old-fashioned and airless.

He goes on to say he felt he had to suppress these feelings because he thought they would be a danger to his family.

Thus the play is about grief, loss and what you do with those feelings when they overwhelm you.

“Whichever one I’m with,” comes the inevitable reply.

Ok, she can’t play any more, but she will teach, she will work as her husband’s secretary. But straight away, Dr Feldmann punches into her bubble of confidence and asks her if she ever feels suicidal.

Over their successive meetings, we then see her go through the stages of grief: denial, anger, despair (indicated by trackie bottoms and trainers - unless you are doing the cleaning that does mean you have given up) and finally a relaxed acceptance. Oliver Cotton is perfection as the distant doctor steering his patient along a particular path.

The chemistry between them fills the theatre and the experience is unforgettable.

Duet for One is at Cambridge Arts Theatre until Saturday, October 14.