Ayckbourn, an actor, director and writer with Joseph and Cheeseman in the early 1960s, found the economics of the company limited the number of actors to between three and six. Economy was also Joseph’s artistic principle, according to Cheeseman: “It was a psychological budgetting system. He would look at a scene and say, ‘That character’s superfluous.’” In the round is a form to which Cheeseman and Ayckbourn have remained dedicated: “You are intensely aware of the presence of actors and objects on stage. Characters are potent but also vulnerable; there’s a great range of sensitivity. You are intensely aware of the humanity of the characters - they are all close to you or to someone else in the same row as you.” In the New Victoria, 600 people can sit within 21 feet of the stage.

All stages, he says, require stylisation but in the round the process is more subtle. “For instance I decided Norman must move so as to let the whole audience see his row of medals within a few moments of coming on . Theatre in the round also allows for more permutations in relationships.”

Immediacy combined with a focus on the actor makes theatre in the round ideal for Ayckbourn’s work and supports the view each character should be taken seriously. None is a mere comic butt: “All have a case to be made for them: Norman’s innocence, Tom’s naivety, even Ruth’s vulnerability.” As for Sarah, while Penelope Keith may have stamped her hauteur on the piece, Cheeseman’s production shows a more vulnerable, neurotic face. We see her problem: “Alan said he wrote so all the characters would be likeable enough for people to want to see them again.”

The Norman Conquests in repertory at the New Victoria Theatre, North Staffordshire until February 3 1996. Tickets: 01782 717962.