Blood and Roses

This repeated line in Poorboy's spellbinding new production had extra resonance on the grey Friday morning when Glasgow learned it had lost Gerard Kelly, one of its most beloved entertainers, at just 51.

Sandy Thomson's exquisite piece of writing – presented as a “site-specific sensory adventure” with each one-person audience listening to a continuous mp3 track – is packed full of quiet, understated little moments that tap into personal memories and feelings.

In theatre, the description “intimate” is bandied around freely, and used to describe any show performed in a small space. Here the performance space is large, but the characters work their way into the listener's head. It feels as though they might just materialise in person at any moment.

Jumping back and forth from Glasgow to St Petersburg, and across four generations, this is an epic, ambitious tale of life, death, love and hope, with a dash of witchcraft thrown in. From its opening minutes it is utterly absorbing, and the extensive voice cast – including Eileen McCallum, Angela Darcy and Robin Laing – is superb.

While the recording is excellent in its own right, the experience of Blood and Roses, in which the listener walks around the Trongate popping in an out of cafes, shops and gallery spaces, is more than just the quirky arts and crafts project it first appears.

Rounding a corner after listening to the gripping tale of a warrior queen's escape from the witch Baba Yaga on a winged horse, I saw a Pegasus Express van parked at the rear of the Tron, and thought “Could it be...?”

Truly an experience to treasure.

A word of advice: if you can, bring along noise-exclusion headphones, or an ear-covering hat, to reduce the risk of traffic noise or chattering coffee shop customers drowning out any lines of dialogue or instruction.

Departs from Tron Box Office every 10 minutes from 11am to 3.30pm.