The Importance of Being Earnest

The Importance of Being Earnest set in the present day is an intriguing idea but I must admit that I was sceptical as to whether it could be done successfully. Surely, the grandiose costumes and elaborate, aristocratically furnished sets all contribute towards successfully staging this Oscar Wilde classic? Having seen Immersion Theatre's opening night at The Courtyard Theatre, the answer is a clear no. The energy of the piece and quality of the performances immerses the audience into the action and you therefore believe that the show could have been written today (which appeared to be director James Tobias' aim when staging this piece in the way he did as mentioned in the director's note). References to Grazia, Marie Claire and other modern elements are few and far between and are thus a treat when we hear them. The performances (from the younger ones in the cast especially) are delivered in such a way that couples Wilde's writing with contemporary intentions very well and the relationships between the characters are all suitably adapted for this modern interpretation.

The first act sets up the story and is notoriously slower than the second and third act when the action actually takes place. This said, James Tobias succeeds in keeping the pace up and we are highly entertained throughout. Thomas Blyth plays Jack far more casually and relaxed than normal. Given the setting of the piece, this works and he is delightful to watch throughout. James Clifford steals the show and is fantastic as the fun-loving, carefree Algernon. His comic timing is superb and his muffin scene with Jack is a highlight of the show. Rochelle Parry makes for a slick and sexy Gwendolen, extracting the full humour from her role. The tea scene between her and Cecily is another comic highlight of the evening and in short, she convinces brilliantly. Tamar K. Karpas compliments the last of the city folk nicely as Lady Bracknell. Andrew Wickes, Emily Tucker and Lorayne Constance also play their roles as Chasuble, Cecily and Miss Prism respectively, convincingly and successfully transporting them into the present day.

This show is slick, energetic, filled with solid performances and well worth a night out. I will keep an eye out for Immersion Theatre's next production, as if this is anything to go by, this up-and-coming company promise to deliver high quality theatre. Well done to all cast and James Tobias for his original direction. I was sceptical but have been convinced that Oscar Wilde still thrills in 2010. The proof is on at The Courtyard Theatre and runs until Dec. 5th.

R Garnham

Benbokis Productions presented Oscar Wilde ' s most revived and revered classic at the Gene Frankel Theatre, 24 Bond Street, New York for four nights --May 6-9. This reviewer saw the last third of the first act and the complete second and third acts on May 7. The sets were minimal but functional and un-credited in the program. The costumes, also un-credited, seemed haphazardly chosen from various periods. Some could have been contemporary to the first production in 1895. Others could have come off the rack at Barney ' s. The lighting and sound were perfect "that is to say one didn ' t notice them at all. Britton Burdick is credited with lights and technical effects. With some notable exceptions the acting did not rise to the level of the writing. Earnest was the greatest success of Wilde ' s dramatic career. However, legal troubles with the father of his young male lover began during the run of the play and his fortunes began to decline. The play is nearly bullet proof. It has held up for 117 years and, if well-acted, delivers delight in its wit and allows the listener to savor every funny line no matter how many times she has seen the play. Wilde had such mastery of the dramatic form that he neatly and efficiently used the ancient Greek and Roman plot device of changed-at-birth brothers as a skeleton upon which to hang his barbs at social climbing, valuing appearances, and the difficulties of living a fully satisfying life, even if you ' re a member of the advantaged classes.Two friends "Algernon and Jack "each invent a friend to explain their frequent visiting in town and in the country, respectively. They both decide to drop their deceptions (and adopt new strategies to win women they love "both of whom are in love with the idea of marrying someone named Ernest.The two friends, their prospective spouses, and assorted standard stage characters "butlers wiser than their employers, a bluff, bull dyke of a bullying aunt, a tutor, and a minister "converse brilliantly. The sentiments sound trivial and are funny, but are ripe with satiric comment that reveals the truth behind what we usually say. Wilde ' s clear-eyed observations of human behavior and values are as clear-eyed and penetrating as anyone ' s "much more so than most. Alas, the promise was not fulfilled. I applaud the entrepreneurship and pluck of these spunky and clearly talented American Academy of Dramatic Arts (AADA) grads and wish them much luck in the future. They made some basic mistakes in this production from which they can learn a lot.