"I’m looking at the struggle between what we loosely think of as high culture and low culture," says Leddy. "And this battle between classical music and pop music, and how that relates to class. But all that sounded a bit dry so I thought I needed to put in a mirror ball and some wigs. Because I’m sure we all agree no show is complete without these things."

"On The Edge was very simple. It was very much about the text and how the text is performed. Almost like a chamber piece if you like. Whereas this piece goes in the other direction - it’s very technical and the tone is much more mournful and introspective. And as well as class politics I’m also looking at Buddhist philosophies to do with wealth and happiness where the route to happiness isn’t getting what you want, but training yourself to not want it anymore."

Alan Chadwick

In his one-man show, On The Edge, David Leddy used the murder-mystery as the basis for a camp cabaret examination of sexual politics. Now he follows it up with Through The Night, which he describes as "Like Cinderella rewritten by the Dalai Lama" - a rags to riches pastiche of celebrity culture and pop music that explores class politics.

The second part of a solo performance triptych, The Corbicula Cycle, which juxtaposes popular theatre forms and cultural theory, it finds a middle-aged former betting shop employee turned cleaner become the toast of the glitterati for what they see as her down-to-earth philosophy.