NEVER have I been so frustrated by a play that doesn’t let its characters finish their sentences.

Then again, I have also never been forced as a spectator to seriously mull over the hypothetical death of a television provocateur.

What did I expect walking into The Assassination of Katie Hopkins? An enthralling murder mystery unravelling the death of the former Apprentice contestant? A blandly political history lesson about the rise and fall of right wing Britain?

I did not foresee what Chris Bush pulled off as the most compelling piece of writing and most bizarre questioning of rubric that Theatr Clwyd has seen in years.

The musical is as far from innocuous as Scotland appears to be from Thatcherism in the show's first act.

Beginning with, you guessed it, the sudden public death of the conservative and controversial journalist, the play explores much more than a national bereavement of a public figure.

It took the question of ‘should we mourn someone we don’t like’ and turned it on its head alongside themes of sexism, racism, immigration, rape, justice and injustice, and of course, freedom of speech.

“You say hate speech, I say passion,” says Kayleigh (Bethzienna Williams’ professional stage debut,) who’s attempt to champion a “Justice for Katie” campaign aimed at encouraging hate speech is outrageously mocked on a late night political satire show.

The whole movement is a stroke of genius and an impressive documentation on the world of social media. The theatre (to me, a sacred place where the use of mobile phones equates to cardinal sin) was transformed into one giant Android. Characters used their phones more than their faces. The use of commendable technology – live webcams, texts showing up on a large screen, news updates – was an unblinkered reminder of how technology has an omnipotent hold on society and is slowly eating away at human values.

With this in mind, the musical explored the death of Mrs Hopkins, who on the one hand was seen as a “zombie,” and was still the topic of controversy and hate when she was dead as much as she was alive.

On the other is the fact that public disapproval does not mean “she got what she deserved.”

It was difficult, admittedly, to hold an opinion on the play due to the over-powering plethora of themes going on in front of the large screens, created out of what looked like mobile phones, and constantly tinkling with colour.

The musical is steeped in fury at what the contentious figure has said, while also fighting against apathy in a world where: “We get so carried away, we forget to be human.”

It’s that line that rotated in my head when I woke up the day after watching what I consider the most excellent, thought-provoking and at times disturbing musical I’ve seen.

That – and the irksome taunt “How should we remember Katie Hopkins?” repeated endlessly in each scene by each character.

I could write an academic essay – I’ll save you the bore – on the issues and concepts which were cleverly discussed in this play.

But I couldn’t do it justice.

This musical was born to be consumed and considered – so I sincerely urge you to pop along and see what you think of the fictional world which worryingly resonates with reality today.

Oh, and the not-finishing-sentences remark: a maddening tool which really does make you think about what happens if we weren’t allowed to say what we think. It was powerful and annoying – a mirror to its protagonist.