Company Paradiso have established a reputation over the years for innovative physical theatre. This new work-in-progress, like their last production, I only came to use the phone, has as one of its core themes the relationship between the sexes. Director Jon Potter seems to like the ‘man-woman-doctor' triangle, used in very different ways in both these productions, giving plenty of opportunity for explorations of themes such as power, truth and trust.

Lest this sounds like a heavy duty psychological drama, let me say that the doctor/counsellor character is played with customary hilarious buffoonery by Spymonkey's Aitor Basauri. The couple's angst-ridden relationship is portrayed as an extraordinary dialogue by actor Ros Philips and musician Stephen Hiscock in which her vocal pleas for communication are met with paradiddles on his drumkit: his clanger-like calls on mouth organ met by her St Vitus Dance. Here is a rare thing: theatre that uses not just live music but the intrinsic musicality of voice and movement as a crucial element of the piece.

Hiscock's own company, Ensemble Bash, perform live percussion with true theatrical awareness. A symphony played on a dinner table started the set – which went on to include a John Cage piece. They presented supposedly ‘difficult' pieces of avant garde music with confidence to a packed house as part of a community festival – proving, as Company Paradiso had done earlier, that artists do not need to 'dumb down’ to have popular appeal.