Theater Review: The Importance of Being Earnest

The Importance of Liking The Importance of Being Earnest
By Lauren Yarger
If you’re a fan of The Importance of Being Earnest, you’ll love the Roundabout Theatre Company’s Broadway revival of Oscar Wilde’s1895 farce about mistaken identity and absurd romance. If you’re not a fan, like me, you’ll leave the American Airlines Theatre saying, “Great production, but what is so funny?”

Brian Bedford directs this tale of a country gentleman, John Worthing (David Furr), who invents a troublesome brother named Ernest, whose troubles afford John the opportunity to leave his country life, dominated by his young ward, Cecily (Charlotte Parry) and her tutor, Miss Prism (a scene-stealing Dana Ivey), and go to more exciting London, where he assumes Ernest’s identity.

In town, he hangs out with friend Algernon (a very funny Santino Fontana), Archie’s cousin Gwendolyn (Sarah Topham), with whom John has fallen in love, and her mother, the formidable Lady Bracknell (played by Bedford). Archie, finds spending time with all of them a bore, however, and invents an invalid friend, Bunbury, whom he pretends to visit in the country to avoid the social obligations of town.

There are some other characters -- Lane, the butler (Paul O’Brien), the vicar (Paxton Whitehead) and a couple of servants (Tim MacDonald and Amanda Leigh Cobb) – thrown into the mix of mayhem which ensues and before it’s all over, Algernon impersonates Ernest, Algernon falls in love with Gwendolyn, both Cecily and Gwendolyn think they are engaged to Ernest, both women vow they could ever love a man not named Ernest and secrets about a baby left in a handbag at a train station come to light.

The fans were rolling in the aisle the night I attended, including the guy behind me who laughed loudly while kicking my seat throughout the performance (I’ll give him the benefit of the doubt and assume he was unable to control himself, rather than think he was just a clod). Certainly, there's some humor here, but the guffaws, really puzzle me. A story that depends on not just one, but two women so shallow that they can’t love a man unless his name is Ernest (and there would be no second or third acts without this little plot twist), not to mention some other ridiculous storyline, just doesn’t do it for me when it comes to the rolling-in-the-aisle category of plays.

But to each his own, and this production certainly is one of the best I’ve ever seen of the play. The two hours and 20 minutes with two intermissions did not seem to drag as much as it usually does for me thanks to the engaging performances and bright pace maintained by Bedford’s direction.

Making the show worthwhile in their own right are the lovely sets and costumes by Desmond Heeley. Each of the three sets looks like a beautiful impressionist painting and the elegant dresses and formal wear are beautiful. It’s sumptuous and lavish and looks like everything a late Victorian piece should. The performances also are terrific – all of them across the board, including Bedford as Lady Bracknell, who is especially funny when he uses the lower range of his voice to register dissatisfaction.

While he does a fine job with the role, and simply plays the character rather than call attention to the fact that he’s a man playing a woman, it’s still noticeable and because of that, questionable. Why is it acceptable for a guy to play this role? There aren’t too many good roles on the stage for women over a certain age these days any way. Why should one of the juicier ones be portrayed by a man? There are plenty of gifted actresses out there who could have had a lot of fun with this character.

Well, maybe it’s part of a hook to get people to go see a play and if it works, I guess it’s worth it. Earnest has been extended at American Airlines Theatre, 42nd St., NYC through July 3. For tickets call 212-719-1300.

Christian might also like to know:
• No content notes