Chris Eldon Lee reviews London Classic Theatre’s production of “The Importance of being Earnest” which is at Newcastle Under Lyme’s New Vic Theatre until April 13th and comes to Shrewsbury’s Theatre Severn from the 10th to 12th of June 2013.
“That’s the most ridiculous play I’ve ever seen!” opined my companion as the cast took their curtain call. He’d never witnessed Oscar Wilde’s “The Importance of Being Earnest” – whereas this was my 20th hand bagging.
He’s absolutely right, though. It’s the ridiculousness of character, plot and manners that keeps this play alive and kicking even though the Victorian audience it was intended to reflect (and probably insult) has long gone. In 1895 Wilde acerbically put ‘types’ he knew on stage and everyone else thought they knew them too. So they laughed. But in the subsequent century we, the audience, have moved on and the play feels more a museum exhibit than a cutting satire. Today, Alan Ayckbourn employs the same strategy – and I wonder what 22nd Century audiences will make of him.
It is however a very competent and still-amusing piece of theatre and The London Classic Theatre are true to their name and do exactly what it says on the tin to please the crowd.
There are highs and lows.
Algernon is played as a young, leering Leslie Phillips by Harry Livingston. Paul Sandys – as Jack Worthing – has the air of a 19th Century ‘Inbetweener’. They feel mismatched for most of the play – until the final revelation capitalises on their height difference. As if they have limited confidence in the comic set-up, they march through the first Act slaughtering jokes on the way. (Though I presume repeated references to muffins and cucumber sandwiches were funnier in Wilde’s day than they are now).
But once the women arrive it’s a different story.
Helen Keeley – in her impressive stage debut – has clearly noted Wilde’s line about how “all women become like their mothers” and plays a simpering, selfish Gwendolen like a Lady-Bracknell-in-Waiting. There should be a health warning.
Her dangerous city girl is beautifully counterbalanced by Felicity Houlbrookes innocent country lass. Cecily’s trembling tresses, wrinkled nose and open, earnest manner is a delight. Felicity has Cecily darting birdlike about the stage – in sharp contrast to Helen’s sweeping skirts. Their long diary scene together – as they become friends, enemies and friends again in quick succession – is a happy highlight.
Lady Bracknell has been a poisoned chalice part ever since Margaret Rutherford. Carmen Rodriguez makes some stunning entrances and handles the famous lines modestly, probably aware that half the audience is mouthing “A handbag!” with her.
All’s well that ends well. The silly boys come good under the female tutelage and the production rises to the occasion. There are no great surprises (unless, of course, you’ve never seen the play) but it is, as the company promises, a classic evening and Shrewsbury audiences this summer can enjoy being directly insulted by Mr Wilde who is adamant that all neighbours in Shropshire are perfectly horrid. I can hear the jeers already.
Visit www.newvictheatre.org.uk for bookings & more information about New Vic Theatre
Visit www.theatresevern.co.uk for bookings & information about Theatre Severn