The most frightening part of ageing is the fear of having wasted time. In this sense, Vanishing Point’s Tomorrow proved a valuable lesson.

As a young man is cast decades of years into the future, into a clichéd old people’s home where residents predictably wet them-selves and fall asleep, it’s difficult to escape the feeling of one’s own life drifting away.

As the care workers play shag or die, long, dreary care home scenes are far from the bedlam I’ve seen visiting elderly relatives.

We meet George rushing to hospital the day his daughter is born. On his way he is wrestled by his older self. A few moments later his young daughter, aided by a three carers, helps transform him into a wrinkled, needy pensioner, reliving that same day over and over. He’s soon trapped in a care home and an aged body. George’s daughter, now grown up, struggles to keep his spirits up. That constitutes the plot.

It felt half-baked, thrown together and misfired. Why not have elderly actors alongside George in the care home?

And ideas that Tomorrow questions how different nations care for their elderly and interrogates our youth-obsessed culture are laughable. It was difficult to imagine anyone leaving the theatre knowing anything they didn’t already: ageing is inevitable and complicated.