Photographs Alex Brenner

Writer: Beth Flintoff

Director: Hal Chambers

Designer: Sarah Jane Booth

Lighting Design: Michael Brenkley

Costume Supervisor: Evelien Coleman

“The play is a visual and physical banquet while the comedy lightens the carnage and cruelty. Costume designer Sarah Jane Booth has created a clever chameleon stage which is a cross between a battlefield, a castle, a shipwreck and a skateboard park. The muted colours of the stage look like a decayed rainbow and work organically against the decayed walls of the Abbey Ruins.

The costumes are a magnificent highlight of the play, effectively transporting us in style to Medieval England with sumptuous cloth in gold, red, orange and green. The leads flaunt court dress and symbolism and the flamboyance of the age with exaggerated fluttering sleeves, glittering kingly robes and emerald gowns clashed with modern tights for colourful hose and trainers to give an accessible 21st-century edge to the production”

Alison Jayne Reid, The luminaries Magazine

“The show is very well dressed using some well-chosen regal leggings, great tunics, sweeping trains that clearly distinguish both status and the character's personality and amusing curly shoes. “

Nick Wayne, Pocket Sized Theatre

“Many of the costumes by Sarah Jane Booth are a lush riot of satin and velvet and her spare set suits the full-on and physical drama to a tee.”

David Woodward, Spy in the Stalls

“We sat on pews before a skatepark of a stage (designed by Sarah Jane Booth), streaked with blood red and earthy tones in the holy setting of the St Paul’s Church. The acoustics brought the play to life and the church setting reflected its reverence to an immersive effect.”

Riana Howarth, northwestend.com

“Sarah Jane Booth’s costume work also stands up so well to close scrutiny, some luscious drapery going on but hints of contemporary design adding to the feel of a play speaking to now as much as then.”

There Ought To Be Clowns

“features plenty of pageantry without feeling like historical reconstruction. Against Sarah Jane Booth’s proto-industrial climbing frame set, the cast wear tunics with trainers – all the more comfortable for executing Dani Davies’ nifty swordplay.”

Julia Rank, the Stage