★★★★★ The pacing of the show is perfect, with the acts seemingly building upon one another . . . A proper spectacle, featuring everything from a woman shooting arrows with her feet, to motorcyclists performing death-defying stunts on-stage, Cirque Berserk showcases talent from across the globe, and needs to be seen to be believed.

The stories told include a romantic reconciliation by way of snobbery, how neighbourly propriety can turn exhaustive and exhausting, and what happens when a lonesome pork pie “holer” tries to be in on the joke with his factory workmates. The latter is the closest to horror the show strays, and its final sequence is hard to shake. It’s one of the better vignettes.

★★★☆☆ I would go see another Action Hero production. They are some wonderful, brave ideas here, but either they need to be grounded and contextualised more, or indulged to their full-blown fantastical conclusions. The in-between hampers their impact.

★★★☆☆ Sarah Hadland is remarkable. Her characterisation is consistent, and comfortable, and she breathes vitality, humour and a little edge into what others might have played as a stereotypical badgering wife. Her final monologue is something to behold, an impressive feat of breathing control, let alone acting ability.

★★★★ It leaves you yearning for more. Will Tharwa get to see her kids soon? Will Emma give birth while in the hostel? Where did Adnan go? I could watch a six-part Netflix series following these characters, though of course, that’s not the point. Easy resolutions are not what Zeldin is offering us here . . . Beautifully quiet, and quietly beautiful, Love should be on your list of shows to see in 2017.