The Importance of Being Earnest
The Importance of Being Earnest
By Oscar Wilde
Directed by Jim Helsinger
Starring Avery Clark, Shannon Michael Wamser, Philip Nolen, Mindy Anders
Orlando Shakespeare Theatre, Orlando FL</strong>
Who hasn’t told a little white lie to get out of a tiresome Chrsitmas party or wedding recption? In Victorian London, Algernon Moncrieff (Clark) created an invalid friend Mr. Bunbury who conveniently becomes ill whenever Algernon’s imperious aunt Lady Bracknell (Nolen) demands his presence. She’s dropping by today with delicate Gwendolyn (Anders) and his best friend Jack (Wamser) wants to propose. Earnest won’t give his consent until Jack explains Cecily (Deanna Gibson) and the cigarette case she gave him. Jack has a double life as well, he’s guardian to Cecelia in the country, but poses as rakish Earnest in London. Algernon tricks his way into Cecily’s life, offers t marry her, but there’s a stalemate that not resolved until absent minded Miss Prism (Robin Olson) revels she mistakenly left jack in a handbag in Victoria station many years ago. All is well, and the critical social stratification is retained – rich marry rich, society marries society, and no one ever admits to passing gas in public.
As Wilde’s most successful play, this story is packed with gags to the point that every line feels like a punch line. Mr. Clark oozed class confidence and idle wealth while Jack offers the flip side – he’s unclear of his parenthood, and that trumps any actual skills or ideals that he may have come up with on his own. Nolan’s lady Bracknell is more than the dragon lady of an aunt, she epitomizes the whole of upper crust Victorian society – one must eat, breath, and reproduce, but none of that is to be discussed in her presence. We see the same bourgeois standards in “Spring Awakening” but here they are reduced for comic effect – tragedy is not in Wilde’s vocabulary.
The set is every bit as imperious as Lady Bracknell, Grecian urns hover over the action, Pre-Raphaelite peacocks grace the walls, and the set simmers in the warm glow of orange gels and brocades costumes. Opening night began with a preshow talk in a packed Patron’s Room, director Helsinger explained some of the more obscure jokes, the sound designer explained how they created bad piano plying electronically, and we are reintroduced to Wilde’s tragic career as an outed homosexual in Victorian England. This is frothy comedy at its best, the rapid fire laughs flow from the situation, the dialogue and the actors timing. It’s all over far too soon, but everyone gets a girl.
For more information on Orlando Shakespeare Theater, visit http://www.orlandoshakes.org
