"Pure theatrical Viagra," drooled a national critic when The Blue Room opened in London eight years ago - thereby providing a great phrase for the advertising hoardings and (as I am showing) for the start of any review that followed. Charles Spencer's passions had been stirred by the sight of Nicole Kidman, minus a lot of her clothes. She was the first in a long line of famous women - not all of them famous actresses - to bare all (or most) in the starring role.

Somewhat disingenuously, you might think, the playwright David Hare now affects not to know what all the fuss was about. In a letter to the director of this week's excellent production in Oxford, he said: "Because of the phenomenon of publicity which surrounded it, The Blue Room became a by-word for raunchy - which it isn't."

"Oh, isn't it?" might be the incredulous response of anyone sitting through the 100 minutes of hot action presented by a student cast at the OFS Studio this week. For if this isn't raunchy, it is hard to imagine what Sir David might consider so.

The distinguished playwright based his play on a work by the late Victorian writer Arthur Schnitlzer, a doctor, who wanted to illustrate the dangers of venereal disease arising from promiscuity. His play was closed by the police for scandalous content when first seen in Vienna in 1921.

Hare imitates the pattern set by Schnitzler, with a depiction of ten sexual encounters. In each case, one of the two people involved is seen in the next scene with a different partner. Eventually this 'daisy chain' of rumpy-pumpy arrives back at the beginning, with the prostitute Irene - seen at the outset servicing a chav taxi driver - now meeting the needs of a very tipsy toff. But at least she gets paid this time!

Though it was originally staged with a cast of just two, director Sarah Markiewicz this time goes for four. But not, it would seem, on the same night. Having been introduced to the admirable acting - and quick-change - achievements of Jess Guise and Will Forbes, I continued to wonder when Elizabeth Donnelly and Alex Stewart were going to turn up. They never did. Clearly, they will get their turn before the run ends tomorrow.

Do try to see it - not least for the accurate depiction of the British class structure that Hare, one of the most political of playwrights, introduces to the drama. That he is also one of the wittiest guarantees an evening full of humour. I particularly relished Mr Forbes's hilarious presentation of a pompously preening - and extremely garrulous - playwright. Who can Sir David have been thinking of?