Mistakes, no matter the original intent, can have long-lasting effects. This is especially true within families, where the sins of the parent in time become those of their children.

It is this notion of generational strife that is explored in My Mother Said I Never Should - set against the backdrop of the wide social change across the 20th century, through four generations of mothers and daughters.

Doris, born in 1900, is the lynchpin throughout all of their experiences, making mistakes with her own daughter Margaret (b. 1931), and watching those same errors influence her granddaughter Jackie (b. 1952) and Rosie (b. 1972). Unwanted pregnancies, crushed ambitions, gendered societal expectations and biting regret all feature strongly, even among the few moments of gaiety found.

All parts are ably performed, however Judith Paris as Doris in particular brings a compelling blend of bitter contrition, quiet anger and pathos to what could have been a relatively rote role.

This is all framed by the ‘Wasteland’, an imaginary space where the playwright presents the main characters as children playing with one another in clothes befitting the era of their birth. It is this which strongly influences the set design, which is stricken with odd shapes, broken crates and patches of darkness. For an audience not well-versed in the underlying framing device, this interpretation could be viewed as slightly abstract, even if the overall effect is visually compelling.

Nonetheless, the play is as gripping now as when it was first performed in the late 80s, being excruciatingly honest, analytical and completely gripping.

My Mother Said I Never Should runs at the Theatre Royal Bath until Saturday, May 25.