“Also it has to be noted that the costumes were amazing! lots of bright colours and geometric prints like some kind of crazy fairytale couture, honestly I’ve seen shows at the Royal opera house which didn’t have anything like this level of wardrobe style and co-ordination.”

UK Theatre Network

Giulia Scrimieri’s 1920s costume designs are a treat. Vintage? Surely most of them are vintage? And ‘divine’, yes, ‘divine’; the frocks worn by Beth Burrows could have danced from a V&A display cabinet to the Tabard. The accompanying props sustain this period piece perfectly.”


“I must also mention the great costumes. The duchess is modern and stylish in structured pieces while she’s on formal show, soft and maternal in pyjamas, then stripped and undone at the end. The Cardinal, in his red satin suit and studded leather collar, is a conundrum of papal red with devilish undertones. And Ferdinand is a rock star dandy in skinny jeans and cummerbund accessorised with a dagger.”

Everything Theatre

“Giesser’s masterstroke was to relocate the action to mid-1920s Britain (coincidentally allowing Giulia Scrimieri to design some gorgeous costumes and Oscar Selfridge to leave a few Art Deco motifs and props around the pleasingly sparse set, the aesthetic treat worth the ticket price alone)”

Broadway World

“Costume designer Giulia Scrimieri has come up with some wonderful outfits for the cast. Along with the clown costumes, my favourites were worn by the very tall and upright Andrew Seddon as Malvolio who undergoes an awesome transformation from the puritanical immaculately turned out popinjay in the first act to the maniacal fool of the second. An example of where fantastic costume and superb acting are completely in synch with each other.”

Everything Theatre

“There’s a lot to like about Bromley Boys. Stylistically it’s beautiful, perfectly capturing and rendering the time period. The locations, costumes and even the hair – all have the look and feel you’d imagine.”

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