The Importance of Being Earnest - Review

Noel Coward Theatre, London

**

Written by Oscar Wilde

Directed by Max Webster

Stephen Fry

When it opened at the National Theatre late last year, Max Webster’s take on The Importance of Being Earnest was a work of theatrical quality and imagination, delivered by a company that dripped in expertise and experience. Now, transplanted across the river for a 3-month West End residency, the original’s acting genius is replaced by stunt casting and celebrity that takes an inspirational concept, reducing it to poorly performed moments of silliness.

Topping the bill for the evening is Stephen Fry, best known for his screen achievements rather than a career on the boards. In an unexplained gender-swap, Fry replaces (the previously excellent) Sharon D Clarke as Lady Bracknell. In what should be one of the most exquisite roles in the canon for women over 50, Fry gives a hammy performance that other than showcasing his distinctly recognisable voice delivering some of the most famous lines in English literature outside of Shakespeare, adds nothing to Lady B whatsoever. He is of course a big star and will no doubt draw in the punters - but they’ll be disappointed to find the actor delivers little more than a pound-shop Julian Clary.

The evenings other star name is Olly Alexander as Algernon Moncrieff. Alexander focusses on silliness over dramatic heft and while the role is undoubtedly complex, one feels that he barely skims its potential. Likewise Nathan Stewart-Jarrett who seems to concentrate more on the mania of Jack Worthing rather than his character’s depths.

Kitty Hawthorne and Jessica Whitehurst are respectively Gwendolen and Cecily, two parts that again, inexplicably, Webster has chosen to play through channels of over-acted histrionics. The physical comedy of Hayley Carmichael, doubling up as the faithful retainers Lane and Merriman has faint echoes of Tom Eden’s genius as Alfie in One Man Two Guvnors - but its little more than that, as Carmichael’s work descends into repetitive cliché. In a rare moment of class, Hugh Dennis as the Rev'd Canon Chasuble is brilliant.

The scenery is tired. Back at the Lyttleton, Rae Smith’s original designs were sensational. Here, the grassy banks of the Hertfordshire garden scenes are shockingly frayed, while actors waiting offstage for their cue are clearly visible in the wings.

This is a poorly executed transfer and other than the stunt casting, it is hard to see why the National and their co-producers have staged it. Perhaps they could resist everything except temptation?

Runs until 10th January 2026

Photo credit: Marc Brenner

The Importance of Being Earnest - Review

National Theatre, London

****

Written by Oscar Wilde

Directed by Max Webster

The company

Oscar Wilde's The Importance of Being Earnest is a sharply observed farce that sets improbably false identities against a gorgeously satirical examination of the hypocrisies of English society in the late 19th century. Given a makeover by Max Webster in his revival for the National Theatre’s Lyttleton stage, the production’s colourblind casting may give rise to moments of cultural inconsistency, but its performances are sublime and the cast’s delivery of Wilde’s script, exquisite

Sharon D Clarke is magnificently matriarchal as Lady Bracknell. Deliciously costumed in an African/Caribbean style, Clarke exudes commanding snobbery together with a sharp social awareness. Her interpretation of one of the canon’s most fearsome women is a delight.

As the two bachelors Algernon Moncrieff and Jack Worthing, Ncuti Gatwa and Hugh Skinner are on point throughout, their flamboyant japery delivered with pinpoint timing. Opposite them as Gwendolen Fairfax and Cecily Cardew, the subjects of their wooing, are Ronke Adekoluejo and Eliza Scanlen respectively who equally immaculately capture their roles.

But it’s not just in the five lead roles that this production excels. Richard Cant as Revd. Canon Chasuble and Amanda Lawrence as Cecily’s Governess Miss Prism absolutely nail their deliciously nuanced parts, their modest but critically important contributions to the narrative only adding to the evening’s comedy. Similarly, doubling up as the butlers in both the town and country houses of the action, there is lovely work from Julian Bleach.

Rae Smith’s scenery and costumes are a marvel although one has to question the expensively costumed, camped-up pantomimes that are performed at the opening and closing of this production. The play alone is a gorgeously crafted - it does not need such accoutrements.

Only on for a few more days and mostly sold out, if you can grab a ticket it's well worth catching!

Runs until 25th January

Photo credit: Marc Brenner

The Importance of Being Earnest - Review

Jack Studio Theatre, London


****


Written by Oscar Wilde
Directed by Sarah Redmond

Daniel Hall

As one of Oscar Wilde’s most famous plays, one wonders if its aged humour and possibly outdated social values will stand the test of time. Thankfully in Sarah Redmond’s capable hands the story thrives.

The production is driven by the leading performances of Daniel Hall and Riley Jones as Algernon Moncrieff and John Worthing respectively, with the pair bringing an infectious cheek and charming energy to the piece, portraying the mischievous socialites with ease.

Hall’s Algernon is instantly warmed to, his strong melodic voice giving elegance to the writing and an electricity to his onstage energy. Similarly Jones’ John charms, as the actor shows an intelligence and understanding of the material and its cadence that perfectly emulates an 1800’s gentleman.

As Lady Bracknell, Harriet Earle occasionally struggled, perhaps, early on in her career, lacking the Dowager gravitas that Bracknell demands. Earle must however be commended for her decision not to concede to the norm and overplay the “Handbag” line, delivering the iconic words with a gloriously dry incredulity.

Redmond directs the piece in a somewhat abstract form, with set and scenery made up of cartoon-esque black and white set pieces, giant calling cards and cut out animals. There’s a hint of the absurd to her interpretation, but nonetheless this innovative take on a classic play makes for a thoroughly enjoyable two hours.

Runs until 2nd December

Reviewed by Charlotte Darcy

Photo credit: Daniel Everitt-Lock

De Profundis

Leicester Square Theatre

****

Music and lyrics by Paul Dale Vickers

Directed by Stuart Saint

Alastair Brookshaw

Three years after his acclaimed performance as Leo Frank, imprisoned on trumped up charges in Jason Robert Brown’s Parade, Alastair Brookshaw finds himself once again behind bars. The actor who is a master of profoundly fragile strength is once more playing a prisoner of conscience, this time the author and poet Oscar Wilde, who in the late 19th century was imprisoned for gross indecency a charge that arose from his (illegal at the time) homosexuality.

De Profundis is drawn from the 50,000 word letter that Wilde wrote (but never sent) to his lover Lord Alfred Douglas, whilst incarcerated in Reading Prison. A solo performance, it is presented at the Leicester Square Theatre as the chosen show from The New Musical Project competition held earlier this year.

As with his Leo Frank, Brookshaw again astonishes. Commanding the compact stage of the (packed) Lounge space, for one hour the shows' melodies range from ballad to distinctly upbeat as this beautifully talented tenor captures the tortured soul of one of England's most celebrated writers.

Paul Dale Vickers has chosen wisely in his extracts from the original opus. From an opening reference to "we are the grotesques" in which we glean the misery of Wilde’s condition, through to the glorious melody of I Must Have Love In My Heart, a song that that gives Brookshaw a chance to fill the room with his voice, the work is a finely balanced combination of styles. 

The musical highspot of the show coincides with Wilde’s nadir, as he learns whilst imprisoned that the court has removed his children from his care. The pain is acute and Brookshaw sings How Sick The Love That Dare Not Speak Its Name with such controlled rage that there is an almost Gethsemane-like quality to his treatment. It's a spine tingling moment in such an intimate theatre. 

Stuart Saint has delivered a gem in his interpretation of this new writing. Enhanced by Jonny Dickie's subtle sound design and clever lighting, the dank isolation of a Victorian jail is convincingly suggested. This ballad of Reading gaol though merits a wider audience and an auditorium with grander acoustics than a sticky-floored Leicester Square basement. Brookshaw's mellifluous tones are frequently deployed as a chorister in the splendour of both St Paul's Cathedral and Westminster Abbey and to hear him deliver Vickers' majestic melodies in a classic venue, built with echoing walls of stone, would be a treat.

Until then, Alastair Brookshaw serves his current term until 8th June. Visitors are most definitely encouraged.

Runs until 8th June