Much Ado About Nothing
From: Thursday, 10th February 2011
To: Saturday, 26 February 2011
Our Review: 
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Synopsis
After civil war Messina seems to have returned to peace with few casualties and a courtship holds the promise of reconciling the battle of the sexes in a well matched wedding. But the reconciliation's have been too hurried and soldiers can't return to the civilian world overnight.
Our Review:
Anne Morley-Priestman - 10 February 2011
The third in Abigail Anderson’s sequence of Shakespeare’s comedies, like its predecessors, takes us into the Regency rather than Elizabethan period. Or rather – since we are in Sicily – to the turbulent period of the French Revolutionary and Napoleonic Wars. Libby Watson’s simple set of sliding flats with a flight of steps at the back is terracotta-coloured. [Mia Flodquist’s costumes for the women are light variations on this colour theme; the younger men wear uniforms with the elders keeping to an earlier style.
A great strength of Anderson’s productions is the way in which her cast point the text. So Claudio (Ben Deery)’s initial response to the suggestion that Hero (Ellie Kirk) might be a suitable bride is clearly one to establish whether or not she will be Leonato (John Webb)’s sole heir. Not so much love at first sight, then. More of a calculation. Pat Whymark’s excellent score is allied to [Yael Loewens...
Creative
Shakespeare (Author)
Theatre Royal Bury St Edmunds (Producer)
Abigail Anderson (Director)
Libby Watson (Design)
Mia Flodquist (Costume)
Mark Howland (Lighting)
Pat Whymark (Music)
Yael Lowenstein (Choreographer)
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