Nutshell Theatre, as part of their Still Points Of The Turning World trilogy, open Thread during a competitive church beetle drive - so far, so nostalgic.
Following on from Allotment, the middle play sets outs to invite the audience to stop for a moment and consider the effects on each of us created by the dramas of everyday life - and how lives could turn out very differently.
Three central characters are the focus of the action, although a sewing box found in an antiques shop on Leith Walk gave director Kate Nelson inspiration for this tale of stitching, swimming and sometime settling written by Jules Horne.
Feisty Issy (Gowan Calder) was the first to make an impression, receiving appreciative murmurs from the mainly female members
of the audience in her treatment of self-assured, but somewhat hapless, William (Stephen Docherty).
Their opening dynamic is an interesting one as the duo's bickering and sniping almost suggests an intimacy that, on arrival of William's wife Joan (played by a versatile Nicola Jo Cully) may have only been imagined.
Using flashback techniques, we find out more about the close bond shared between Issy and Joan before William came courting.
Their personal tragedies and self-consolation is explored never avoiding more difficult topics, such as the older Joan's rapidly diminishing health as dementia takes hold.
There's a sadness that pervades as it looks at lost opportunities in times when certain decisions were far too difficult to make; though there's also a hopeful poetry to much of the dialogue with wistful whispers in the seaside air of Burntisland on a fateful day.
The chemistry between William and Joan although not always believable (and perhaps a casting issue) was balanced by the
strong portrayal of Issy, a woman who knew what she wanted and was almost happy.