The Importance of Being Earnest

This production  by State Theatre of The importance of being Earnest brings Oscar Wilde’s play into modern times without in any way detracting its  integrity, wit, humour and not so gentle dig at the mores of Victorian Society.

The transformation is obvious from the first moments when Laine (Car) enters as the servant setting up a room for visitors, removes her jacket, and sings.  The audience loved it. And credit to composers Geoffrey Crowther and Carla Lippis.

In a drawing room set, designed by Kathryn Sproul, Algernon (Anna Lindner) dressed in a orange suit and prances about, perhaps reminiscent of the young men who belonged to the Oscar’s circle of followers. The entry of Jack Worthing, portrayed throughout with the right amount of sincerity, diffidence and  authority, establishes the plot – the problem of not being Earnest, his love for Gwendoline and, in Algernon’s case, the non existence of Bunbury, both fictitious characters being their means of escape from the expectations of their social set. 

Jack is in love with Gwendoline, (Connor Pullinger) who, while confessing to return his affection, adroitly maintains control of the relationship, including the barriers set up by her mother.  

Enter Lady Bracknell, formidable in presence and authority and gifted with the best lines in the play, Glenda Linscott makes the most of those lines and her character, which must be one of the plum roles in English theatre. Those famous lines re parents and handbags were met with a contented sigh from the audience.

The set, with a spin of the stage, switches to the country where the the happy mayhem continues. Cecily (Pia Gillings) Jack’s young ward, is precocious, intuitive and funny as she deals with the confusions. A diminutive Rev. Canon Chasuble (Carolyn Mignone) hangs upon the lips of a the tall, somewhat gawky Miss Prism ((Nathan O’Keefe) as they tiptoe around their unrequited love. 

In the time honoured device of Jack’s ignominious start in life in a handbag being revealed to be the misplaced baby of Lady Bracknell’s sister, and Jack’s name being, in reality Earnest, all is well with the world. Laine brings it to a climax with more singing so that the play finishes, not with a whimper, but a very emphatic bang.

Would Oscar have approved of Petra Kalive’s direction? I think he would have loved it: the pace, the gender swapping, the skill of every member of the cast, the extravagance of flowers, and  the respect shown to his script which still sparkles with sly wit and humour. 

State Theatre 8-30 May

Images: Matt Byrne