Tag: Ustinov Studio Bath

JUST AN ORDINARY LAWYER at the Ustinov Studio, Bath

★★★☆☆ This one-man show has songs which thread through the piece, illustrating as they do Sowande’s first love – music. The atmosphere is for the most part congenial, delivered with the comfortable, measured pace of a lawyer anxious for exactitude in unpacking the salient details and passions of a life well-lived.

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CRIMES AGAINST CHRISTMAS at the Ustinov Studio, Bath

★★★★☆ New Old Friends has teamed up with the Lichfield Garrick theatre to present a very adult take on the 12 Days of Christmas. A cast of just four peopled the Ustinov stage with 13 characters, circling each other with festive paranoia as the bumping off began, Agatha Christie style, one by one . . . Great fun.

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TROUBLE IN MIND at the Ustinov Studio, Bath

Bravely, as it must have been in 1955, the play unravels some of the prejudices and preconceptions that bedevilled race relations in 50s America. Like many a notable work it plays out society’s tensions in the (unfulfilled) life of an individual. Yet this is no blunt instrument to bash society’s sensibilities. The play works as a piece of theatre and not mere polemic by observing and playing on a web of sensitivities

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HALF LIFE at the Ustinov, Bath

Plato thought that the world would be improved once rulers were also philosophers. Whether the same claim could be made for theatre were playwrights drawn from the ranks of philosophers is at least debatable, though examples are easy to find of playwrights with a philosophical bent producing stuff that gets bums on seats and accolades in the weeklies. John Mighton is such a one and his play about ageing and memory loss is a shining example of a complex idea being given dramatic form.

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24 HOUR PLAYS at the Ustinov Theatre, Bath

Once again the Theatre Royal Bath throws the cards up in the air in an act of artistic bravado in the hope and belief that they will land in some sort of winning hand. As an agnostic in these matters I was not sure of the value of taking a bunch of tender plants and forcing them to fruit in a very short twenty-four hours – the time span from blank page to performance. The idea is not to give six playwrights a day in which to come up with a coherent structure, each writing a scene unseen of the rest . . .

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