●●●●○
First performed in 1895 at the St. James’s Theatre in London, Oscar Wilde’s The Importance of Being Earnest is one of the most timeless dramas from the Victorian era. Known for its satire, use of language and social commentary, it is piece that has been repeatedly revived, adapted and reinterpreted since that initial performance in 1895. Such is its popularity: the Gate’s thoroughly enjoyable production of Wilde’s classic has been extended until 6 February.
The defining feature of what at first seems to be a simple stage, is a shadowy image of Wilde’s face on the back wall. In a way, the face scrutinises the audience as they find their seats and listens as pre-show babble becomes indiscriminate noise. Set and costume designer Francis O’Connor perhaps means to convey that not only have Wilde’s works lived on, but so has Wilde – the playwright and the man.
The Importance of Being Earnest has duplicity at its core – which is potentially indicative of the double life Wilde himself was forced to lead. Centring on two protagonists who endeavour to limit their social commitments, the opening encounter sets the mantra of the play: the two men have invented alternative personae which can help them escape any obligations on a moment’s notice. There is the man who is Ernest in town, and Jack in the country (Marty Rea). His dissolute friend Algernon (Rory Nolan) labels this activity “bunburying” and admits himself to having a fictitious friend Bunbury, who he is often forced to visit on a whim on account of Bunbury’s tendency to be sickly.
Director Patrick Mason’s conscientious emphasis on humour is evident throughout, as is his decision for Rea and Nolan to exercise definitive roles in their respective comedic aspirations. This makes for an almost effortless rapport between the two. Nolan pouts, struts, and his hands are often suggestively placed on his hips. He is given room to be ostentatious, showy and most importantly, flamboyant in everything he does. This mirrors wonderfully the exuberance of Victorian ways that Wilde is clearly trying to convey. Rea on the other hand is bullish in the least extreme and most humorous sense of the word. Often flustered and stuck in a corner, he is certain of one thing: his love for Gwendolen Fairfax (Lisa Dwyer Hogg). Rea’s crestfallen face at the confession of Gwendolen to being in love with the name Ernest, and her disgust at the name Jack, is one of the highlights of the production.
Elsewhere, Gwendolen and Cecily Cardew (Lorna Quinn) both believe themselves to be engaged to Ernest, when in fact they are to Jack and Algernon respectively. Their initial exchange and the trivial pettiness it entails is executed wonderfully by the two women. They flit between being the best of friends and to the worst of enemies, with an ease that Wilde obviously wished to highlight and mock for his audience. This conversation is facilitated by the servant, Merriman (Des Keogh), who does the subtle and incredibly difficult task in making the audience laugh by facial expression alone, while simultaneously taking nothing away from the important exchange between the two women.
The apparently simple stage at the outset is revealed to be a misnomer. O’Connor has created one which has panels opening from the side and the back. Throughout the production the panels reveal various props, settings and sound that hint at the new location. One such panel reveals a model train that is set up and released by the characters in front of us, thus moving the production from one location to another.
One can only wonder what Wilde thinks from the shadowy depths of the back of the stage. Nevertheless, Mason’s adaptation of his masterpiece is true to the original. Both witty and clever, it is hard not to enjoy. Although the expression on Wilde’s face may have appeared to be one of scrutiny at the commencement of the play, on re-examination at the end, maybe it is actually a look of smug satisfaction.
The Importance of Being Earnest runs until 6 February at the Gate Theatre.
