Alan Ayckbourn's domestic comedies sit well in The Playhouse: the intimate atmosphere of the 73-seat theatre lends itself perfectly to the close examination of the private lives of the English middle class.

This was especially true of Pateley Bridge Dramatic Society's latest production, in which a unique and inventive piece of staging gave us insight into two households simultaneously, the lounges of the two homes overlapping and intersecting on the stage.

One house belonged to Frank and Fiona Foster, a couple who enjoyed a distant and evasive relationship, in which Fiona's infidelities were never fully addressed.

Michael Thorne's masterly portrayal of the infuriating and frustrating Frank depicted an incompetent, interfering manager, whose unerring ability to misinterpret events gave rise to most of the farcical situations.

Debbie Forsyth was delicious as Fiona, a 24-carat bitch, elegant and sophisticated on the surface, but devious and duplicitous underneath.

The other household was occupied by Bob and Theresa Philips; we soon learned that Bob – one of Frank's employees – was having an affair with Fiona, a fact that somehow seemed to evade Frank's comprehension.

Tom Barber was excellent as Bob, and gave a commanding, authoritative full-throttle performance as an 'angry young man', callous and cruel at times, trapped in a tempestuous marriage.

Heather Appleton impressed as his wife Terry, displaying a wide range of emotions as she struggled to assert her individuality, cope with a baby (Benjamin, whose presence was always felt but never seen), and deal with her husband's infidelities.

Into this situation stumbled the hapless Featherstones, beautifully played by Steve Rouse as William – another of Frank's employees - and Carol Bailey as Mary.

They made a gloriously funny couple, their delivery of lines was impeccable, backed up by some wonderful body language which took the comedy to new heights.

Steve was outstanding as the pedantic, well-meaning but boorish William, while Carol's timid, mousey Mary, beset with mannerisms galore, was a delight to behold.

In one memorable scene, we witnessed the socially-inept Featherstones at dinner with the Fosters on Thursday night and the Philipses on Friday night – both scenes being played simultaneously, with the Featherstones swivelling between the two dinner tables. The timing was perfect, and changes of reaction were a riot to watch.

The six individual characters were exquisitely drawn and brilliantly played out; the cast's ability to occupy the stage in different 'spaces' without ever conflicting was a masterpiece of choreography and interaction – ensemble acting at its best.

The set, conceived and constructed by Stan Appleton and his team, was a triumph, as were the pitch-perfect period costumes from Christine Ward, and the endless supply of food and drinks from the indefatigable props team of Joyce Liggins and Sharon Matyk.

This tour-de-force was pulled together with slick and expert direction from Peter Buller, to whom goes the ultimate praise for such a memorable production which impressed on every level.

The packed audiences were in tears of laughter throughout the week – yet another triumph for this small but immensely talented group