What a joy of a romp of a fever dream is Plenty Of Fish In The Sea. A three-handed fable about fish is perhaps not the most tantalising premise, but this show is unmissably, unmistakably brilliant. Ostensibly about hook-up culture, and somehow transported to a French nunnery in an unspecified time that feels a bit like the 1800s, like all good fables there are layers of meaning. It’s about sex, it’s about greed, it’s about too much of a good thing. And it’s about fish. Lots and lots of fish. 

Anyone looking for a definition of ‘physical theatre’ vs ‘normal theatre’ would do well to spend 45 minutes in the company of performers Emily Ayoub, Madeline Baghurst and Christopher Carroll, who inhabit and embody their characters from the inside out. It’s a masterclass. Ayoub doesn’t speak; Baghurst’s lines are entirely in French and yet every intention, every impulse is crystal clear. (You will leave feeling bilingual; you probably are not.) With split-second timing and perfectly staged, it’s also very funny: Tobhiyah Stone Feller’s set deserves an award or six all to itself. This is theatre-making at the highest level; the only issue with this show is the shortness of its run. Catch it while you can (but maybe don’t plan fish for dinner after: you won’t fancy les poissons once you seen where they’ve been). 

Plenty Of Fish In The Sea, The Courtyard of Curiosities at the Migration Museum, until 3 March, 7.40pm.