“It’s been a bit of an odd morning, sir,” says young Wesley, trying to make sense of Mr Lupine’s unusual interview techniques. The not quite 20-year-old man is uncomfortable in his late-father’s suit, his mother guiding the naïve man to apply for an apprenticeship to the local portrait artist. Wesley is not long back from the war, encouraged to bury its horrors in his mind – but Lupine has other ideas.

English playwright Philip Stokes continues his tradition of bringing his works to the Adelaide Fringe for their Australian premiere, following in the success of Heroin(e) for Breakfast and Jesus, Jane, Mother & Me. This two-hander features Stokes’ son, Jack as the returning soldier, shellshocked not just by what he had to witness (and do) in the trenches, but at suddenly becoming the ‘man of the house’, and expected to provide for his mother and three sisters.

The dialogue between Lupine and Wesley is meticulous, brilliantly composed and delivered, with moments of humour, but soaked in exceptional cruelty. It’s physically uncomfortable to watch the elder abuse the youngster, his constant prodding of his mind and body – and less frequently, the suggestion of sexual intimacy – is deliberately designed to provoke audience reactions of disgust and horror. The twisting narrative is well crafted, but tightens like hands around your throat, and it is a thoroughly unpleasant experience.