Furious, disgusting and wantonly erotic by turns, Madi Distefano’s one-woman excursion into the life of post-punk grunge kid Dido provides the sort of adrenaline burst normally only associated with illicit stimulants. Cutting precisely between Dido and her grunge band guitarist boyfriend, Jeremy, Distefano slams her way through the 24 hours in 1989 when Dido left Boston for good.

Matt Pfeiffer’s direction ensures that the switch between characters is complete, although physically no more than pulling a shock of bleached blonde fringe out from under a black ski-hat. Everything else is in Distefano’s physicality, accent and the well observed patterns of speech.

Dido’s day involves the seduction of a suit at her temp job and robbing his wallet so she can quit and spend the rest of the day hyped up on crystal meth. This is no victim’s recall, however, but the celebration by a sensualist of her own destiny. One only enhanced by Distefano’s brilliantly conceived false double-ending - one romantic, the other tragic.

Jeremy’s day is equally sensualist in nature as he sleeps around, prepares his body as a vessel for his music at a gig and scores - his path occasionally crossing Dido’s. It’s a hidebound life, however. And while her ending is pure romance, his is all tragedy. A brilliantly conceived and delivered piece of theatre.