When Driving Miss Daisy last came to Bath, it was in a vastly different political climate. Safely in the Obama-era, the issues dealt with – institutionalised racism and segregation – felt firmly like the products of a by-gone time.

In the post-Trump world however, with riots and counter-riots constantly filling the news, it has taken on a new relevance.

Set in Atlanta, Georgia, the story begins in 1948 when southern matriarch, Daisy Werthan, a Jewish widow crashes her car – in spectacular fashion.

Given that she is too old to drive (and too stubborn to admit it), her son Boolie hires Hoke Colburn, an African-American man, to serve as her chauffeur.

Daisy and Hoke’s relationship gets off to a rocky start, but as times change across the course of a twenty-five year backdrop of prejudice, inequality and civil unrest, a profound and life-altering friendship blossoms as the pair slowly transcend their differences and grow to rely on each other far more than either would ever have expected.

What sets Driving Miss Daisy apart is its essential decency – everyone portrayed is human, with imperfections and flaws. There is an anger throughout, but with a huge dose of self-awareness.

Siân Phillips and Derek Griffiths share a wonderful chemistry. He is twinkly and kind where she is crotchety and paranoid, and they are certainly a match for one another in every argument – both giving as good as they get. Teddy Kempner too shines as the put-upon Boolie, trying to delicately reconcile his principles with his career and business needs.

This is a little play that tackles big issues with no small measure of wit and warmth, and really is essential viewing in these troubled times.