Alexandra Wood's Merit , currently showing at the Finborough Theatre, has a throughly engaging start.
Daughter Sofia has landed herself a new job working as a PA for banker Antonio, who we never see, despite lacking in qualifications and experience.
In the absorbing opening scene, suspicious and jittery mum Patricia expresses her concerns and goes as far as to indirectly accuse her daughter of prostituting herself for the role.
Set in the midst of economic crisis in Spain, Patricia's anxiety stems from conflicting feelings of jealously, suspicion and a hope Sofia will continue to financially support her crippled parents.
In quite what direction the play, directed by Tom Littler, goes from here is the source of great intrigue and compelling viewing.
Coupled with this are terrific performances from the play's only two actors: Ellie Turner playing Sofia and Karen Ascoe playing Patricia.
But sadly it doesn't carry its promising early form into the rest of the play, instead unravelling into a plot that feels largely unexplained.
Audience must make up their own back stories
Scenes revolve around the desperation of Patricia who pleads for an interview with Antonio before joining an anti-capitalist movement.
Times are so tough that her husband, Sofia's dad, tried to take his own life as the couple were faced with financial meltdown.
Revelations towards the end display the violent consequences of desperation amid austerity and leave you to ponder the lengths Sofia went to land herself the job, and a host of other questions about how far austerity can push someone.
These are questions that mean the play hits all the right notes in modern Britain.
But the problem with pondering these questions is that there isn't enough detail behind the circumstances prompting them.
Granted, that may have been intentional to make the play cryptic, but it feels as if the audience are asked to make up their own back stories.
How much can we really know about Antionio's motives, his job offer to Sofia and other plots surrounding him if he is never in the play?
Dubstep intervals
Bizarrely, scenes are also broken up with 30-second intervals of dubstep music that seems more appropriate for an all-night rave than a quaint theatre hosting a play.
This is not to say Merit is by any means a poor play, and emotionally it will strike a chord with anyone who has suffered the consequences of the global financial crash.
But its excellent acting, along with witty dialogue, and important modern questions are let down by a lack of detail.
getwestlondon gives Merit two stars out of five.
