[2] It again features a young female leading character in some kind of danger, and shares the theme of East End crime that frequently arose throughout the trilogy.

The original productions also shared Alison Pargeter as one of the leading roles, but this had influence far beyond making Sugar Daddies a companion piece.

Prior to acting at the Stephen Joseph Theatre, Alison Pargeter had concentrated her career on playing children and teenagers.

[3] The following year, she played a 16-year-old in GamePlan, the older heroine in FlatSpin, and, finally, an ex-lapdancer in RolePlay – three roles that earned her Best Newcomer in the Critics' Circle Awards.

[4] Having seen her take on the different range of ages successfully, Ayckbourn chose to write a role specifically combining all of her traits into one character.

[3] To some extent, the same theme of deception and self-deception applies to the other four characters, particularly Val, the old man Sasha befriends, whose dark past he is unable to hide for long.

Although there is no change of location in the play, between the first and second act, the entire flat is refurbished to something expensive yet hideous, with little resemblance to the original set.

Before and after Val leaves, Chloe shows stress through her job as a TV researcher, the imminently rising rent, and her boyfriend who calls off dates by text message.

After helping Sasha get Chloe to bed, Ashley assumes (owing to a misunderstanding of the phrase "working girls") they are both prostitutes.

He also claims to be retired from the serious crime squad, and blames the loss of his eye on a car chase, and before leaving tells Sasha he is looking out for her.

Ashley then calls with the news that Zack is in hospital, having fallen victim to muggers who stuck his mobile phone up his bottom (to some embarrassment when Chloe rang him).

When Chloe returns (having spent a holiday with Zack in Majorca to recover from the accident), she exclaims that the place has been turned into a brothel.

Snapping, she calls Val a dirty old man, tells Sasha she will pay for her "gifts" eventually and declares she will live in a hotel until the furniture is gone.

After Charmaine arrives, Sasha mentions she is considering dropping out of catering college and running a nightclub instead, or some other higher ambition.

But in the next scene, after the dinner, Sasha feels excluded as Val, Ashley and Charmaine, none of whom liked her cooking that much, reminisce with stories of old times.

[11] Beginning 4 October and running through early November 2013, ACT (A Contemporary Theatre) produced the play in Seattle, Washington.

Michael Billington of The Guardian wrote: "... the real fascination lies in watching Ayckbourn's transformation from social observer to impassioned moralist, alarmed at our declining sense of self and loss of personal identity", although he felt the ending was a little too sugary.