As the stage was plunged into darkness at the end of Manor on the National Theatre's Lyttelton stage, I was thinking: What was the point?
The applause died down and the actors left the stage, I turned to my friend who said what I was thinking before I had the chance.
Manor is an odd play and one that will divide given the mixed response from those sitting around us.
Set in a crumbling restoration-era manor house, on a stormy day with floodwaters rising, Lady Diana Stuckley (Nancy Carroll) is arguing with her husband Pete (Owen McDonnell).
He's off his tits on drugs (to put it bluntly), but the row whiffs of a marriage long past its sell-by date.
When daughter Isis (Liádan Dunlea) appears, there is no cessation of hostilities, and the mood doesn't get any better when strangers start arriving seeking shelter from the storm.
There's Ripley (Michele Austin), a nurse training to be a doctor and moody teenage daughter (Dora) Shaniqua Okwok, who were staying at a nearby holiday cottage.
And the charismatic-as-a-snake, Ted Farrier (Shaun Evans), who is the leader of a far-right group, accompanied by his blind girlfriend Amy (Ruth Forrest) and loyal recruit Anton (Peter Bray) in tow.
Local vicar Fiske (David Hargreaves) and unemployed youth Perry (Edward Judge), who lives in a caravan nearby, make up the group.
Remind you of something?
The set-up immediately reminded me of The Mousetrap, but while Manor is described as darkly comic on the National Theatre website, there isn't a great deal to laugh at unless you find fat-shaming funny.