After success last year with her one-woman show, Mrs Oscar Wilde, Lexi Wolfe is back with a two-hander set in 1942 – showing domestic life struggling to carry on during the Second World War. While she waits for her hot date to arrive, Maggie is interrupted by her childhood friend Roger, who wants to confront her about her less-than-respectable behaviour.

With so many solo shows in Fringe theatre, it’s a real pleasure to see a genuine two-hander. Wolfe is joined by Andrew Slade as Roger, and there is genuine chemistry between the pair. The dialogue is so crisp in the opening scene, when Roger insists on a cup of tea, while Maggie clearly wants him gone but cannot admit it. The politeness with an underlying edge is pitched perfectly; it really is exquisite acting.

This opening scene is the highlight of the show for me, as Maggie tries to explain why she has been missing social events, and even why her house is so clean. Roger probes and harries her, and noses around her living room as she makes the tea. At each step Maggie’s innocent explanations are undermined by Roger – who has clearly been checking up on her – as he backs her into a corner, before finally confronting her. There’s a real sense of moral judgement on Maggie here, a sense that the patriarchal Roger, who claims to know what’s best for her, is almost bullying her.

The war is a constant backdrop: the bittersweet news of a son’s injury (he’s hurt but may get invalided home), the random deaths in the Blitz, the black humour about whether there’ll be somewhere to go to work tomorrow. It builds constant tension, and as the sirens go off and Maggie and Roger head for the Anderson shelter, they get drawn closer together. The 1940s feel is superbly realised – through the set, the clothes, the character’s manners, the dialogue and the social attitudes.

However, this is where the play takes a wrong turn for me. The 1940s are realistically portrayed, but does it have to embrace 1940s attitudes as well? In the latter stages, the script turns in directions that grate against modern sensibilities, but also run counter to expectations set up earlier on. Having rooted for Maggie as she was harassed in her own home, I wanted and anticipated a less traditional and more subversive ending.

A historical play like Indiscretion still has much to say about how we live today, and so some of the plot choices seemed retrograde. But, and it’s a big but, this is a superbly constructed play – well-written, and acted with aplomb by two talented actors. And those are old-fashioned qualities I'm more than happy to witness on stage.