On paper, a 70-minute show tracing the last months of a man dying of terminal cancer through a series of letters to his father doesn’t sound like a must-see.

But on stage it became a celebration of the beauty of life.

Leentje Van de Cruys played the writer’s partner, Anna, reading the collection of letters for the first time.

She sang and spoke the words with a voice cracking with emotion, while delivering a naturalistic physical performance, encompassing frustration, loneliness and joy on the minimal set.

As she admitted in the post-show discussion, this prism was essential to prevent In May becoming mawkish – her presence added a sense of distance which would have been unachievable if it were the son or father doing the readings on stage.

Frank Alva Buechler’s script contained moments of almost unbearable poignancy as the unnamed letter-writer came to terms with his impending death, but was completely devoid of self-pity.

It delighted in simple cliches of sunsets, birds singing and flowers blooming as spring arrived, while weaving in the reality of clinics and check-ups with Dr Eisenstein.

Backed by the swell of Neil Hannon’s romantic music and Simon Wainwright’s carefully chosen projections, it was an uplifting experience, expertly pared back by director Matt Fenton to ensure space for the audience to digest the story.