“. . This performance by Lucy Ellison is as intense and concentrated a piece of acting as you are likely to find anywhere on the contemporary stage . . . The direction by Christopher Haydon gets the most from the scenario, leading his actress in such a way as to maintain interest with great economy of stagecraft . . . George Brant does not offer any alternative point of view or any answers, but he does raise some fundamental, important and urgent questions about the way we go about killing one another. This is theatre at its most vital, brilliantly acted.”

This happy marriage of circus and theatre delivers on all fronts with little nuggets like the woman who was prevented from suicide by the parachuting effect of her crinolines showing something of the potential of this kind of collaboration the unexplored terrain of which lies before us like a gaping chasm. The play is a fitting tribute to and triumphant celebration of ‘The ornament of Bristol and wonder of the age’. Bristolians will love it as will anyone with the vaguest interest in one universally recognized as amongst the greatest of Britons.

There is no question in my mind as to the best theatre of the year; that has to go to the Ustinov in Bath. The plays, both imported and produced have been of the highest quality and that applies to the acting, the writing, the direction and the sets. Let’s hope that under artistic director, Laurence Boswell, the continued mix of home-grown works with his excellent selection of international plays maintains the standard.