The Importance of Being Earnest at the Nöel Coward Theatre
★★
The Importance of Being Earnest is a classic comedy from the mind of Oscar Wilde. It is personally my favourite piece of Wilde's work. It’s a piece brimming with wit, charm and humour in a way that makes most adaptations of the work timeless.
This adaptation stars a number of known names for the British public with Olly Alexander as Algernon Moncriff, Sir Stephen Fry as Lady Bracknell and Hugh Dennis as Reverend Canon Chasuble.
*POSSIBLE SPOILERS AHEAD*
Content Warnings:
There were not any content warnings on display, however these were warnings that I felt should be mentioned:
Period Typical Incest
Shouting
References to Child Abandonment
Sexual References
Misogny
Classism
Infidelity
Alcohol
Comfort Eating Depicted as Humour
Mentions of Parental Death
Loud Music Throughout Intermission
My Review:
The plot follows Algernon and his good friend Mr Jack Worthing, a man found at birth in the cloakroom of Victoria Train Station and their escapades as they try to marry their sweethearts while both assuming the name Earnest, a name their lovers deem more attractive than their given names.
It’s a well known and loved story which finds its footing in being retold as in the modern day it is incredibly easy to laugh at the rich and their insignificant problems
I was unable to see this production when it originally ran at the National Theatre so will not be comparing any differences it may contain from the National Theatre proshot.
This staging attempts to bring camp into one of Wildes’ worlds, something quite easily achieved due to the large amounts of subtext in his most well known works, this production however falls flat on even that.
Whether it due to the lead playing to the audience directly when the curtain rose or the general nature of such a highly stunt casted show, the first act was filled with pantomime-esque responses to jokes. For an adaptation that kept to the original direction of the show, this would’ve been fine and set the tone that this material still holds up decades after its original production. However, a large majority of jokes that received jeers from the audience were those added as references to modern pop culture. A piano rendition of Marry You by Bruno Mars played by Algernon after Jack is first told he cannot marry Gwendolen, Cecily singing Flowers by Miley Cyrus when first introduced preening in her garden, these additions seemed to be prodding the audience who may not have been laughing at the jokes half a scene earlier and saying “are you still listening?”
Oscar Wilde infamously wrote queer subtexts in his works, this is what makes a lot of them still relevant and entertaining today. This show uses Wilde's queerness as the punchline of a joke rather than vehicle for the satirical nature of the text. The choice within this adaptation to clearly show sexual acts portrayed by Cecily and Gwendolen feels like an attempt to get a cheap laugh while also being able to turn the tables and say it is a true reflection of Wildes characters as they are outwardly portrayed as queer. This show is aiming for a camp and proud telling of this story and it heavily misses the mark, feeling closer to a mockery of the identities portrayed instead of a celebration of them.
The audience feels like we are being told to laugh at an alternative punchline within scenes portraying the absurdly rich and their first world problems, instead finding it easier to laugh at the sexuality of these characters.
Despite not having seen the first run of this production, I still felt this version still managed to punch down. Lady Bracknall for example, originally played by three time Olivier award winner Sharon D Clarke, is a role not unfamiliar to being stepped into by either gender in multiple adaptations but to have a Lady Bracknall that seems to be physically uncomfortable in wearing a dress on stage does up the pantomime tone even it the plays more dramatic scenes.
Overall the show does follow the majority of the text to a T, especially when it comes to the set design of the main locations per act but this alone should not be the only thing I am happy remains unscorned within this interpretation.The acting from Nathan Stewart-Jarrett as Jack Worthing was standout and complimented very well alongside Kitty Hawthorne as Gwendolen Fairfax. The costumes are intricate and well made although they may be used in scenes that come off as slightly avante garde.
In short, if you have never picked up an Oscar Wilde story in your life and are interested in the stunt cast, maybe this is for you as you will get the overall story and a reasonable amount of what makes the text good but if you have seen any other stage, tv or film version or even just read the play in an English class; save your money with this one.
Thank you for taking the time to read and I hope this review has proved interesting and helpful for you :)
- AnxiousTheatregoer