It’s hard to imagine a world in which watching three people listen to hold music is entertaining, but that’s exactly what Silent Faces’ Godot is a Woman manages to do. Just like Beckett’s original, we sit, and we wait, and we wait some more. This time however the commentary is not one of the shared experiences of humanity and the passing of time, but instead it’s a commentary on the shared experience of marginalised groups, namely anyone who isn’t male.

Somehow then, over the course of just seventy minutes we’re treated to the lowdown on the absurdity of the claim from the Beckett estates that Waiting For Godot cannot be performed by women (which is centred mostly around the idea that one character has a prostrate issue), the strides feminism has made since 1989, and the false premise that non-binary and trans people are a new phenomenon.

Add to that dance routines to Madonna, some trademark physical comedic theatre, and plenty of nods to Beckett’s original script and you’ve a recipe for success. Silent Faces’ ability to create a show which is in equal parts as entertaining as it is enlightening feels effortlessly delivered. More importantly however, in a time when so called ‘debates’ around trans and non-binary people are being increasingly amplified, it adds important social commentary and gently but informatively challenges those who might fall into the trap of assuming that those who sit outside of the binary are a new phenomenon.

They also add in a nod to the #metoo movement in a short but haunting element which blackens the room and reduces an actor to little but her voice. Nevertheless they counterbalance this with enough laughter that you’re able to leave the show both frustrated at the patriarchy and similarly buoyed with the strident changes feminism has achieved over the last 30 years. Suffice to say, Godot is a Woman is a rousing success, even if the hold music will haunt me for a while to come.