Ian Holcomb (Algernon), Beth Fowler (Lady Bracknell), Brad Bradley (Lane). Photo by Carol Rosegg
Not in Love with Ernest in Love
By Lauren Yarger
Beth Fowler’s portrayal of Lady Bracknell in the Irish Repertory Theatre’s Off-Broadway production of Oscar Wilde’s 19th-century tale “The Importance of Being Ernest” is the best part of the show. As for the rest of it, let's just say I wasn't in love with Ernest in Love.
Fowler is a hoot as the snooty and controlling matriarch in the tale of romance and mistaken identity. When she’s not on stage, you’ll probably be wondering just how many times musical numbers written by Lee Pockriss can begin with one actor singing, joined by a second actor singing (not always quite on the note), followed by a music break where they do a little dance (choreography by Barry McNabb), followed by a duet to finish the song. Answer: most of them and after a while, the repetitious tunes (I had “A Handbag is Not a Proper Mother” replaying annoyingly in my head for days), predictable lyrics (Anne Croswell, who also write the book that stays true to the Wilde story) and a fairly uninspired tale (along with the theater’s furnace working overtime the day I saw it) combine to make it difficult to keep from nodding off.
The story revolves around Ernest (Noah Racey), who’s not really Ernest, but Jack Worthing who manufactures a troublesome brother named Ernest who needs his attention, so he can go to city to visit the woman he loves and daughter of Lady Bracknell, Gwendolyn (Annika Boras). In the city, Gwendolyn’s cousin Algernon Moncrieff (Ian Holcomb) invents a friend named Bunbury which allows him to go to the country to avoid social obligations, but where he falls in love with Jack’s ward, Cicely (Katie Fabel) who thinks he is Ernest.
There are a number of servants involved in their own trysts, (Brad Bradley, Kerry Conte, Kristin Griffith and Peter Maloney round out the cast), attempts at christenings of new names and several episodes of mistaken and discovered identity, and then, you guessed it, the song “Ernest in Love.” The second act is more entertaining than the rather long first one as Fowler, Fabel, Holcomb and Bradley are able to tap more into their comedic skills, directed by Charlotte Moore.
Mark Hartman directs the four-member orchestra housed stage right where they play skillfully, but from where the sounds of their instruments are a little too overwhelming in the small space. Linda Fisher’s period costumes are adequate (I really liked Algie's robe) and the action takes place on a mostly bare stage where two free-standing doors offer some changes for different scenes (James Morgan, set design).
The run at Irish Repertory Theatre, 132 West 22nd St., NYC has been extended through Feb. 14. Tickets are available by calling 212.727.2737.
Christians might also like to know:
No notes.
By Lauren Yarger
Beth Fowler’s portrayal of Lady Bracknell in the Irish Repertory Theatre’s Off-Broadway production of Oscar Wilde’s 19th-century tale “The Importance of Being Ernest” is the best part of the show. As for the rest of it, let's just say I wasn't in love with Ernest in Love.
Fowler is a hoot as the snooty and controlling matriarch in the tale of romance and mistaken identity. When she’s not on stage, you’ll probably be wondering just how many times musical numbers written by Lee Pockriss can begin with one actor singing, joined by a second actor singing (not always quite on the note), followed by a music break where they do a little dance (choreography by Barry McNabb), followed by a duet to finish the song. Answer: most of them and after a while, the repetitious tunes (I had “A Handbag is Not a Proper Mother” replaying annoyingly in my head for days), predictable lyrics (Anne Croswell, who also write the book that stays true to the Wilde story) and a fairly uninspired tale (along with the theater’s furnace working overtime the day I saw it) combine to make it difficult to keep from nodding off.
The story revolves around Ernest (Noah Racey), who’s not really Ernest, but Jack Worthing who manufactures a troublesome brother named Ernest who needs his attention, so he can go to city to visit the woman he loves and daughter of Lady Bracknell, Gwendolyn (Annika Boras). In the city, Gwendolyn’s cousin Algernon Moncrieff (Ian Holcomb) invents a friend named Bunbury which allows him to go to the country to avoid social obligations, but where he falls in love with Jack’s ward, Cicely (Katie Fabel) who thinks he is Ernest.
There are a number of servants involved in their own trysts, (Brad Bradley, Kerry Conte, Kristin Griffith and Peter Maloney round out the cast), attempts at christenings of new names and several episodes of mistaken and discovered identity, and then, you guessed it, the song “Ernest in Love.” The second act is more entertaining than the rather long first one as Fowler, Fabel, Holcomb and Bradley are able to tap more into their comedic skills, directed by Charlotte Moore.
Mark Hartman directs the four-member orchestra housed stage right where they play skillfully, but from where the sounds of their instruments are a little too overwhelming in the small space. Linda Fisher’s period costumes are adequate (I really liked Algie's robe) and the action takes place on a mostly bare stage where two free-standing doors offer some changes for different scenes (James Morgan, set design).
The run at Irish Repertory Theatre, 132 West 22nd St., NYC has been extended through Feb. 14. Tickets are available by calling 212.727.2737.
Christians might also like to know:
No notes.
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.