Most people make no direct use of their education but whoever persuaded Christopher Hampton to study French to university level has proved an inadvertent beneficiary to British theatre. As a translator, Hampton turned an obscure French novel, Les Liaisons Dangereuses, into a West End and Broadway hit, and subsequently made the Parisian comedies of Yasmina Reza (Art, God of Carnage) a lucrative Anglophone brand.

In the last year and half, the English dramatist has done the same for Florian Zeller, a 36-year-old who has become the new darling of theatre in France. His adaptations of The Father, an extraordinary drama that puts the audience inside the mind of a sufferer from Alzheimer’s, and The Mother, in which a woman mourns the apparent loss of love from a husband and son, are now followed by The Truth.

The parental pair of plays were tragedies that used audience-disorienting tactics – such as more than one actor playing the same character, or confusion about whether certain lines had been spoken or thought – to give a sense of disintegrating minds or conflicting perspectives. The Truth on the surface seems lighter – a comedy of infidelity – but it becomes invigoratingly clear that, as in the previous pieces, Zeller will not easily allow theatregoers to know exactly where they are or what is what.