This was promoted as stand-up theatre, clearly because putting it into any particular pigeonhole wasn't easy to do.

In fact, art was almost a more suitable slot. But hey! Who needs categories?

Well, for Julian Fox, the man behind Goodbye Seattle Coffee Company, definition was the point of the show.

Drawing on his real-life job as a doorman at London's Barbican Centre, how much of the character we saw on stage was actually Julian Fox or someone he had created was uncertain. This only added to its poignancy.

Detailing the ordinariness of his life by reading from journals, screening video diaries and talking to us in deadpan monologues, this not only tapped into our endless need for validation through recorded experience but also the need to be seen to be creative.

Perhaps the best example of this was a review he had written on Seattle, a city he hadn't visited but wrote in response to a job vacancy ad at Rough Guides.

He didn't get the job but decided to turn his review into a musical instead, which, performed Pet Shop Boys-style, worked as a brilliant observation of the banality of dreams.

These themes were further explored though reviews of various coffee shop chains across the capital which, with nowhere to be published, would never be read.

On one level, this played with how we define ourselves by products, on another it toyed with the notion of ego about how as individuals we feel that what we do and think must be of importance, however pedestrian.

But rather than using this to belittle, it worked instead as a painful but highly recognisable and very moving picture of humanity.

An odd, thought-provoking and wonderful show.