‘The Importance of Being Earnest’ review
‘Fresh, innovative and meticulous, Bentley’s take on Wilde is nothing short of a triumph – and everyone involved should feel immensely proud.’
Durham University Classical Theatre (DUCT) have returned to the Assembly Rooms with their production of Oscar Wilde’s The Importance of Being Earnest. In Wilde’s most beloved work, we are offered a satirical snapshot of upper-class Victorian society, filled to the brim with wittiness and genius. This show is expertly directed by Sam Bentley, assisted by Harriet Miller – and produced by Evie Trueman, who is assisted by Jude Battersby.
Bentley does a masterful job in maintaining the timelessness of Wilde’s charm and humour whilst instilling his own creative vision. His production is infused with contemporary elements, which only enhance the play’s authenticity and genius. These elements included Algernon (Cillian Knowles) performing a classical piano rendition of Shakira’s ‘Hips Don’t Lie’ at the play’s open – or when Jack (Edward Clark) enters the stage dressed in funeral attire, upon pretending that his “brother” ‘Ernest’ has died. Clark is not simply clad in a black suit, but dons a pair of John-Lennon-like sunglasses, much to the audience’s delight. It is moments like these in which displays how Wilde’s humour can transcend generational humour – and helps us to understand these characters on a greater, more human level.
The cast were simply phenomenal to watch, embodying their characters so naturally and with such vivacity. Knowles and Clark are a dynamic pair, their combined comedic timing earning them great admiration and applause from the audience. Knowles plays Algernon to sheer perfection and is a highly charismatic actor who makes the most of every moment on stage. From delivering witty one-liners, to simply sitting onstage in front of the curtain prior to Act 2, Knowles is able to captivate an audience by his mere presence and was an absolute joy to watch. Clark demonstrates great depth as an actor, able to portray Jack’s crisis of identity with authenticity. He skillfully showcases Jack’s desire for respectability as well as his longing for freedom – delivering a sincere performance which draws you in, asking for investment in the story of his origin and familial heritage.
Molly Bell as Lady Bracknell commands the stage upon each of her entries – her presence packed with charisma and authority, so much so that even when she is the sole character on one side of the stage, opposite from the other characters, we do not feel this imbalance whatsoever. Bell’s line delivery is razor-sharp and astute – that even the phrase “Gwendolyn the carriage!” had me chuckling for moments longer than I’d care to admit!
Miranda Pharoah plays Gwendolyn with elegance and confidence. Pharoah is a natural actress, embodying Gwendolyn’s conviction and assuredness convincingly. She also demonstrates a commendable range as an actress – as she slowly unravels her character as the play’s absurdity unfolds. Her scenes with Cecily (Roxy Rayward) were some of my favourite to watch – an alluring duo, whose scenes are filled with sharpness and passion. Rayward is exceptionally talented and skillful – portraying Cecily’s girlishness, her silliness – but also her stubbornness. A dynamic actress, Rayward exudes charm in all of her scenes, able to capture Cecily’s strong, charismatic character perfectly.
Olivia Fancourt is wonderful as Miss Prism, providing an ample balance between her character’s authority and assuredness, and her anxiousness. Fancourt’s facial expressions are powerful – and even when not directly in dialogue onstage, she is fully committed to her role, offering sincere and authentic reactions. Noah Lazarides brilliantly embodies the bumbling Reverend Chasuble. His comedic timing is excellent, from delivering the Reverend’s long-winded satirical commentaries, to demonstrating his flirtatious and romantic side. Lazarides’s liveliness onstage is infectious – and a true highlight of many scenes.
Henry Skinner demonstrates a respectable range as an actor – multi-rolling as the two butlers for Algernon and Jack’s homes. Skinner’s transition from successfully embodying Lane as stoic and dry, and Merriman as polite and expressive, displays Skinner’s capacity for and commitment to characterization.
All elements of the production came together beautifully – Production Manager Rory Collins did an excellent job in creating an atmosphere of depth and liveliness, showcasing a clear creative vision. Amber Righton Bueno (Set Designer) should be commended for her intricate set design, which was so full of detail that I was continually finding striking new elements. I particularly loved the self-portrait of Algernon hung in his drawing room amidst the neo-Victorian décor – and found the vivid colour palette to be most attractive. The set of Jack’s Garden was also beautifully designed – with the gentle pastels and flowers evoking nostalgia for the English countryside and offering a soft contrast to Algernon’s house in the city. Fly Operators, Thea Jupe and Daniel Wall should be praised for this, the overhead vines and flowers appearing really tying together an image of pastoral and aesthetic perfection.
Though the scene changes felt lengthy, with the rush of movement on stage slightly taking one out of the performance, the level of detail afforded to each aspect of the set certainly makes up for this. The set design is complemented with beautiful lighting by Lucy Smith (assisted by Eva Ryan) – the switching from orange to purple when the characters must attempt to lie, or during a moment of tension was a particularly clever decision! I was also highly impressed with the level of detail given to the costumes, and the highlights for me were certainly Lady Bracknell’s g0rgeous deep purple gown, with the most elegant bustle – as well as Algernon’s vividly loud pin-striped blazers. I also thoroughly enjoyed Algernon’s bright yellow socks – exemplifying the sheer detail and attention given to all elements of the production.
All in all, following a well-deserved sold-out opening night in the Assembly Rooms, the Earnest team should expect their auditoriums to be packed for the next couple of nights too. Fresh, innovative and meticulous, Bentley’s take on Wilde is nothing short of a triumph – and everyone involved should feel immensely proud.
By Tanuja Hanmantgad.