An airhead socialite, a sex worker, a discerning wife. Three women with little in common must work together – their lives depend on it.

In comedy thriller Communicating Doors, penned by Olivier award-winning playwright Sir Alan Ayckbourn and performed by Leatherhead Rep, time is on our heroines’ side.

Hunted by a businessman reputed to have even murdered his own mother, they must travel back in time to re-write their doomed pasts.

For those who fear anything vaguely Sci-Fi, it feels incidental – a plot device rather than Back To The Future on stage.

The tight wit of the script is exercised brilliantly by the entire cast.

Phoebe, head-to-toe in black leather, is more scaredy-cat than Catwoman.

Played by Emma Mulkern to top comedic effect, at one point she bawls, “I’m a dominatrix who cries all the time!”

Pragmatic second wife Ruella balances Phoebe’s blind panic perfectly.

Actress Holly Joyce is convincing as the clever, compassionate, yet often somewhat patronising, leader of the trio.

And then Jessica, perhaps unfairly dubbed the stupid one, delights as the spoilt heiress who can’t quite take the escapade seriously.

Francesca Burgoyne nails it, winning both frustration and warmth from the audience.

Security guard Harold is endearing as the most unbelievable of things – a jobsworth who proves genuinely useful.

His cluelessness, as you’d expect, is played for laughs and he is easily manipulated by Ruella.

Upon interrupting in the climax – at which point life is literally hanging in the balance – he leaves discreetly, mistakenly believing to have walked in on a lesbian orgy.

Their nemesis, sharp-dressed Julian, is menacing from the offset. Every consonant Keith Hill enunciates is loaded and threatening.

His feeble business partner Reece, played by William Hazell, describes him as the Mephistopheles to his Faust.

Indeed, the relationship is controlling yet curiously intimate.

With limited technical provision, lighting was used to tremendous effect to set the scene for different decades.

All the drama occurs in the same hotel room, but a pinkish glow is enough to hint of the honeymoon era.

Scene changes transition fluently using a blackout with a strobe light, which visually represents the supernatural element of time travel.

The furniture and other props remain the same throughout, which works.

Who hasn’t written a snarky hotel review claiming rooms ‘are in need of a bit of an update?’.

One thing that troubles in a 21st Century rendition is the redemption of Reece, the macabrely twice-widowed husband.

But this is a light-hearted affair, not to be analysed too closely.

Its strengths lie in the pure thrill of its corkscrew plot, sharply realised observational humour, and its three shining female leads.

Remaining dates are limited, 7.30pm Friday 4 and Saturday 5 May, plus a 2.30pm matinee on the Saturday.

Call the box office on 01372 365141