Ordinary Decent Criminal is a powerful song of rebellion and revolution, shouted across the balconies of a prison somewhere 'between Manchester and Liverpool'. This arresting one-man show by Ed Edwards won a Fringe First in Edinburgh for Paines Plough this summer and deservedly so - right from the opening its deft script grabs us and holds us tight before bringing us crashing down eighty-five minutes later.

Mark Thomas is quite brilliant as Frankie, the recovering addict-turned-dealer narrator of his incarceration, and his ability both to embody and give voice to his fellow prisoners as they threaten, cajole and hug him dazzles throughout. The single moment where he steps out of character to comment on the demographic of his audience is a delightful nod to the unashamed theatricality of the piece.

Frankie was a student revolutionary, swept up in an anti-Tory protest on the steps of the Steve Biko building at Manchester University in the 1980s. He campaigned and wrote extensively about the Troubles in Northern Ireland, and later befriends a powerful figure on the wing, an enforcer from West Belfast. The story of his friendships with various inmates are interspersed with his letters from, and the history of his relationship with, Josie - another addict who's finding it harder to kick the habit.

A utilitarian design comes to life as its centrepiece of piled crowd control barriers and red calico bursts into light, and then twinkles with fairy lights at particular moments. Seemingly simple and yet both surprising and complex, it's a neat metaphor for the show. Bursts of great tunes blast and recede as we rocket through Frankie's story.

There's much laughter throughout and moments of great pathos, as the busy audience at the excellent North Wall enjoy this rollercoaster ride of a multi-voice monologue that taunts us - if you can't rise with the revolutionaries, can you not at least stand alongside those brave enough to fight for change?

Charlotte Bennett's superb direction is a joy - pushing this vastly experienced performer to unexpected heights, always putting the narrative front-and-centre and ensuring we never get a moment-too-long to consider an idea before the next episode of this compelling story explodes in front of us.

One of the best nights at the theatre I've had in a long while; probably not suitable for those under 14, but an absolute delight for anyone who enjoys Thomas's work.