That was certainly intense. Hotel is a new play by Polly Stenham, performed in the temporary space at the National Theatre that used to be called the Shed (I rather liked the name, but unfortunately license agreements, like the space, are temporary and finite).

Hotel is set in an upscale tropical resort, the kind where the decor is all white, the views amazing, and the minibar both tempting and extortionate. A family has just arrived. Vivienne (Hermione Gulliford) has had to resign her position as a Cabinet minister, following a scandal involving her husband Robert (Tom Beard). This scenario did not strike me as plausible. We all remember Jacqui Smith of course, but surely the scandalous aspect of her husband’s behaviour was that the pornographic films were claimed on parliamentary expenses, not simply that he had watched them.

In any event, the couple have come, along with their teenaged children Ralph (Tom Rhys Harries) and Frankie (Shannon Tarbet) to take a break and regroup following the revelations. Ralph and Frankie are typically spoilt and somewhat emotionally neglected, stealing drinks and smoking cigarettes in time-honoured forms of rebellion. Ralph fancies the hotel maid, Nala (Susan Wokoma) and flirts somewhat diffidently with her.

The action continues in the family circle, until an unexpected event occurs which ratchets up the tension and takes the play into a more political realm. I will refrain from being more specific. As an aside, theatre is one instance in which I am sympathetic to those who are sensitive about “spoilers.” In all other areas, it is the responsibility of those who do not wish to be “spoiled” to refrain from looking at mainstream or social media, not the other way around. In any event, true art can be appreciated even when one knows what is going to happen. We go to see the classical repertoire again and again despite the presence of “spoilers.” More grown people act like utter infants on this subject than on any other.

The play is a true thriller with lots of action. We are invited to consider questions of colonialism, paternalism, modern politics and of course, racism. The NT’s website describes it as exploring the “cost of integrity.” I didn’t really think that any of the characters displayed particular integrity. I felt that ultimately the play was too sympathetic to the family and to the West generally, dismissing the concerns of the local people as being unsophisticated and, in one instance, not local at all.

In the end, it seemed to come down to me to be a horror story about the ultimate fears of middle class (in this case, upper middle class) people. It was well acted throughout (with Tom Rhys Harries a particular highlight as Ralph), thought-provoking and interesting, but not as balanced or sophisticated as I think it wanted to be. I do recommend it, however, as it is a remarkable experience of pure theatrical intensity.