REVIEW: The Importance of Being Earnest – Passion Productions

The Importance of Being Earnest by Oscar Wilde

Presented by Passion Productions

Oscar Wilde once penned, “The truth is rarely pure and never simple.”

But here's a truth that's as clear as a bell: I adore this play. I've already reviewed several versions, and I've got another lined up for this weekend. Call me a theatre addict, I dare you!

Passion Productions’ take on The Importance of Being Earnest was a sharply executed celebration of Wilde’s beloved comedy, bursting with social satire, absurd plot twists, and enough witty banter to fill a teacup (or several). Director Prue Robb and her whip-smart cast delivered a fresh, fearless staging that paid tribute to the original while gleefully playing with its possibilities.

Set in what seemed to be a 1950s/60s-infused version of Wilde’s world, the production took a bold stylistic approach with anachronistic costume choices. And while this may have felt a little out of place at first, it quickly became clear that the commitment to character and comedy far outweighed any need for strict period accuracy. Instead, we were treated to paisley prints, go-go boots, dramatic wigs, and silk playboy robes and fluffy slippers. Algy strutted around in a groovy purple getup, while Miss Prism's hair reached for the sky, and Lady Bracknell's wardrobe made sure all eyes were on her. The set was minimal but functional. With so much colour and chaos radiating from the characters themselves, the simplicity of the staging gave them plenty of space to move, scheme, and snack their way through Wilde’s deliciously tangled plot.

From the moment Rushad Katrak sashayed onstage as Algernon Moncrieff, it was clear we were in confident comedic hands. With Rupert Everett-esque charisma, a devilish smirk, and a twinkle of sin in his eyes, Rushad’s Algy was an irresistible blend of dandy and disaster. He played the character’s bottomless appetite—for food, drama, and a good old-fashioned fun—with infectious glee.

Rushad’s Algy may have been a walking whirlwind, but every storm needs its eye—and that’s where Michael Ware’s Jack Worthing came in. Michael was the perfect foil, grounding the mayhem with gentlemanly awkwardness, dry wit, and some some truly cackle-inducing physical comedy. Having previously seen him portray this same role with Villanova Players Theatre, it was a treat to witness him lean even further into the humour this time with his overly-refined accent, earnest expressions, and barely concealed exasperation—as if Jack might unravel completely at any given moment.

Angela Lal as Gwendolen Fairfax was an absolute hoot—poised, perky, and perfectly ridiculous. With a voice dipped in sugar and sarcasm, she zoomed through Wilde’s endless wordplay with precision and unending energy. Gwendolen never stops talking, and honestly, I have no clue when Angela found time to breathe! Every line was delivered with theatricality and her exaggerated obsession with the name Ernest bordered on tragicomedy. Her second act crash-out was a comedic highlight; equal parts elegance and hysteria.

Maeve Lynch’s portrayal of Cecily Cardew was a bright, bubbly whirlwind of romantic fantasy and youthful charm (and just a little bit unhinged). Decked out in go-go boots and hippie florals, she floated through the show like a lovestruck daydreamer and drama queen. Maeve infused Cecily’s innocence with an intelligent unpredictability; she was wide-eyed and sweet, but not without bite. Her frenemy tension and petty exchanges with Gwendolen were always accompanied by a sharp retort, delivered with a polite sparkle. All smiles and all daggers.

Then there was Bradley Chapman as Lady Bracknell, and what a moment it was. From the vibrant wig to the booming voice and every judgmental glance in between, Bradley didn’t just portray Lady Bracknell/Aunt Augusta—he became her. His very first entrance commanded the attention, dripping with grandeur and disdain. With haughty elegance, he delivered each line with delicious precision. Whether it was a disapproving scowl, delivering a verbal smackdown, or reacting in perfectly timed horror, Bradley was magnetic.

Stacie Hobbs was a treat as the adorably flustered Miss Prism. Completely transformed by her self-made wig, tweedy costume, and impressively aged-up makeup, she threw herself into the role with perfectly tuned nervous energy. Paired with Damien Quick as the wonderfully awkward Reverend Chasuble, the duo brought a sweetly repressed tension to their scenes. Damien, also aged up with white hairspray, gravelly voice, and a walk slower than a sloth, was the perfect counterbalance to Prism’s frazzled charm. Together, they portrayed the awkward elderly flirtation so well, I almost forgot they weren’t actually pensioners.

Alex Graves, who filled in at the last moment for an unwell cast member (Malithi Weragama), was a quiet MVP in the dual roles of butlers Lane and Merriman. With barely a day of rehearsal, he slotted in seamlessly; an impressive achievement in a show packed with fast-paced banter. His wonderfully dry delivery, hovering presence, and perfectly timed comebacks added a layer of understated humour that elevated every scene he appeared in. You’d never have guessed he was a last-minute replacement—his performance was cool, consistent, and genuinely impressive.

What really made this production pop was how tight and articulate everyone was. Wilde's text is like a verbal obstacle course—ready to trip up the unprepared—but this cast crushed it. No mumbling, no tripping over words, and no sagging accents. Each emphasised word landed, every punchline hit its mark, and the audience ate it up like cucumber sandwiches.

Director Prue Robb struck a brilliant balance between tradition and playful irreverence. Certain scenes were reimagined in clever, surprising ways, and the cast embraced every choice with enthusiastic gusto—bringing a joyful unpredictability to even the most familiar lines. It was clear the ensemble understood both the style and stakes of Wilde’s world, and their passion made this century-old text feel more alive than ever.

Yes, the set was simple, but that only allowed the performances to shine even brighter. While a more immersive backdrop might have added atmosphere, it was clear this production didn’t need it to succeed. The vibrant costumes and dynamic character work provided the visual flair, while the stripped-back staging gave the actors ample room to explore every inch of the comedy. The audience’s laughter came easily and often, feeding the infectious sense of fun onstage that never wavered. Bravo to all involved!