From Me To 3792 is the multi-layered monologue of a lonely woman who’s twin sons have flown the nest and taken with them the last shred of similarity between her and her husband. She has her job, she has her nosey neighbour and she has her husband’s dinner on the table every evening. But she needs something else – something to make her feel alive, special and wanted again.

So she does what any woman with an itch to scratch would do: writes to a prisoner on death row. Yes, the blurb in the programme throws up this unlikely scenario, which at first is an uneasy and fantastical concept for the audience to grasp. But as you witness Diane’s character being ignored by her husband and harassed by her neighbour, you begin to realise that it will take more than just a run-of-the-mill affair to force them to see Diane in a different light.

As the simplistic veneer of the storyline is stripped back, many complex underlying issues are revealed that would undoubtedly strike a chord with every single audience member: the relationship between a husband and wife; the definition of a mother; being satisfied with one’s lot; the role of friends; acceptance; and forgiveness.

But the one theme that binds the play and the characters together, providing the twists, turns and ultimately the resolution, is deceit. Diane deceives her husband by striking up the relationship; the prisoner deceives Diane by playing the victim; and Diane’s husband deceives her to win her back. But through Nash’s calm, benevolent portrayal of each character, you realise that none of the deception is carried out with malicious intent, and as such you can almost condone it.

Even though this is a one-woman-show, Nash’s intricate performance fills the stage with characters by effortlessly allowing the audience to recognise each and every one of them. They are all seen through the eyes of the central character but Nash’s subtlety allows the audience objective glimpses as well as Diane’s blinkered perception. Nash controls the pace with mastery, ratcheting up and down the intensity at appropriate points. She has the ability to play the comedic, poignant and downright tragic moments to full effect, demonstrating her versatility as an actor. It came as no surprise to learn that the play had been written with Nash in mind.

Hendon’s writing is simple, amusing and perceptive. He sets the tale in Sutton Coldfield but Diane’s concerns are universal. The humour is not of the gut-aching kind, rather a more quiet, internal ‘laugh with’ not ‘laugh at’ type. From Me to 3792 offers a totally unpretentious theatre experience that allows everyone – regular theatre-goer or not – the authority to dissect it without worrying whether you’ve got it right.