Shakespeare was only a decade into his astonishing art when he penned this play, so the dizzy delight of intricate plot lines, abundant romantic material and scintillating word play, all about ‘Nothing’, come before his mood darkened.

Comedy rules of course and if there are times when events onstage invite more than a smile, they are well forgotten as the whole company joins in celebrating a resoundingly happy ending. Opening night applause echoed that mood.

Things start off cheerfully in Messina. The colourful and generous Don Pedro (Stephen Papps) calls in on equably affable Leonato (Stewart Ross), on his way home to Aragon from victorious battle. The arrival of his company triggers two romances, a revenge plot, numerous mistaken assumptions and a dazzling cop story. Dizzying indeed, but played out with careful attention to character which fleshes out the silliness.

Ross Gumbley’s assured direction balances the relish of farce with other highlights of the play, such as the contrary effects of love and the way villainous schemes are no match for friendly ones.

How fortunate is the company to have the artful design skills of Julian Southgate to set up the intriguing early nineteenth century world where all this can happen. Using the forced perspectives explored by Georgio de Chirico, an Italian surrealist, he furnishes the stage on a scale not seen so far in this venue. “Colonnades of Turin mixing with Sicilian Greek ruins, and even the sculptures of Florence,” to quote programme notes. Props and masks are also from this creative wizard. The effect  locates the play in territory at once familiar and unsettling, providing the launching pad for surprises and delights to come, as well as moments of pure theatrical pleasure.

Lit splendidly to the design of Brendan Albrey and with a richly suggestive score and composition from Luke di Somma, as well as a merry mix of vividly costumed military champions, elegant well-to-do folk, saucy servants and try-hard law keepers (to the design of Emily Thomas), the world of Leonato’s Messina is undeniably enjoyable. Choreography in keeping is cleverly provided by Annette Searle. 

The actors hold their own in the midst of all this exuberance and the word – mostly prose – is given its due. Kyle Chuen and Lizzie Tollemache give us a freshly love-struck couple in Claudio and Hero, almost tongue-tied in their overwhelmed state. As the victims of wicked plotting by Don John (Ross McKellar), they are called on also to carry off some melodramatic moments. They do. 

The witty Benedick/Beatrice pairing is played attractively by Roy Snow and Lisa Chappell, who are well matched in the point scoring sequences which mark their progress from disdain to euphoria. 

The Dogberry role is meat for Tom Trevella’s physical and vocal invention. Together with his offsider, Verges (David Ladderman),with whom he also works in The Loons Circus Theatre Company, he gives us a crime squad to remember. Their ability to take advantage of impromptu opportunities to engage with the audience set the mood of Sicilian revelry before the play, and again when a technical hitch caused a minor delay early in the second half. 

All up, the play is an exuberant rendering of a play whose Ado, in the right hands, continues to please. Much. 

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