Bringing the story of Nancy Wake to wider attention is, as playwright Peter Maddern notes, long overdue. Her work as a journalist, based in Paris, allowed her to travel around Europe before WWII. The impact of what she saw in places such as Vienna and Berlin motivated her to join the British Special Operations Executive and work with the French Resistance during the war. The play begins as Nancy, played by Emily-Jo Davidson, parachutes into occupied France to join a group of maquis. Davidson quickly delineates her character, using just the right amount of swagger and confidence as we see Nancy deck a young fighter who doubts her ability because she is a woman, while overrating his own sexual attractions. Stephen Schofield and Charles Herkes both give sterling performances in multiple roles, particularly as Henri Tardivat and the German soldier, respectively. From opposite sides, they both display such love for their country – the difference being Tardivat's belief in freedom and the soldier's belief in power and control. The production does not make the best use of the rear projection screen. It is used to tell the audience where we are, and in a flashback to set the scene when Henri proposes to Nancy in 1939. However, the cafe scene displayed appears to be from the 1920s rather than just before war WWII, an unnecessary distraction. Similarly, the blackouts are too frequent and distracting. In such a short piece, is it really necessary to have different tables? It would be better to credit the audience with some imagination, after all they are suspending their disbelief within the play itself. But I could not suspend my disbelief over the way tea was made – yes, a minor point but again distracting.