Faye has not been dealt a kind hand in life. In control on the surface (especially in a darkly funny sexual encounter), she seems hardened and uncompromising. But as Ian Pattison’s play unfolds and the layers of Faye’s ugly upbringing are peeled back, we come to understand, and empathise, with the solitary woman she’s become. Witness to her father’s sickening drunken violence, victim of her mother’s exploitation that takes a particularly horrifying twist, young Faye’s future feels bleak.

In this powerful one-hander, Gail Watson brings a firecracker energy to Faye, capturing her ferocity and fragility. She imbues a character who initially appears to have more front than Porty prom with palpable vulnerability. Once we see beneath the surface, a more complex picture coalesces of a woman shaped by brutality, neglect and rejection who, despite some admittedly dodgy life choices, somehow finds a way to keep going.

Watson seamlessly (sometimes terrifyingly) flicks the switch between guttural pain and the black humour that leavens this script with much-needed light. Powered by her belter of a performance, when a chance of redemption finally comes for Faye in the form of another troubled soul, it’s a hard heart that wouldn’t swell with tearful pride. 

Faye’s Red Lines, Gilded Balloon Appleton Tower, until 23 August, 7.15pm; main picture: Steve Ullathorne.