REVIEW: The Importance of Being Earnest - Redcliffe Musical Theatre

Presented by Redcliffe Musical Theatre

Directed by Gary Farmer-Trickett

Performed at Theatre 102

Oscar Wilde’s The Importance of Being Earnest is one of those plays that simply never goes out of style—and lucky for us, it’s also one of those plays that South-East Queensland keeps returning to. I’ve now had the pleasure of reviewing this show three times, and honestly? It was still a joy. Wilde’s sharp wit, timeless absurdity, and comically tangled web of mistaken identity were as charming as ever and this production once again delivered an evening of polite society chaos with style.

For those new to the story (or in need of a refresher), The Importance of Being Earnest is a Victorian comedy of manners that revolves around two friends, Jack and Algernon, who each lead double lives under the false identity of “Ernest” to escape the tiresome expectations of the upper class. When both men’s deceptions are revealed in front of the women they love—each of whom insists on marrying someone named Ernest—things spiral into gloriously silly mayhem across three wonderfully over-the-top acts.

Under the direction of Gary Farmer-Trickett, the production kept a faithful hand on the style and tone of Wilde’s world. The set, designed and lit by Jonathan Johns evolved across acts from elegant parlour to picturesque garden and finally a study complete with love seat, bookcase, and—most importantly—snack props for Algernon to devour. One delightful detail was a giant portrait of Algernon featured in Act 1, clearly meant to highlight the character’s over-the-top vanity and set the tone for the silliness ahead.

The true strength of this production lay in the ensemble’s chemistry—especially the dynamic between the two male leads, Jack and Algernon, both posing as the elusive Ernest. Jake Hollingsworth as Jack was a perfect casting choice—not only is he already British, but he delivered the role with comedic precision. His facial expressions were an absolute gift, and his confident stage presence really anchored the story. Lachlan Boyes as Algernon brought the necessary charisma and cheeky mischief to the role, with excellent use of physical comedy and perfectly timed asides that were impossible not to watch. The playful “brotherly” antics between the two characters, even when things went awry in the plot, were a major highlight.

Ashlee Hermann played Gwendolen with fantastic snobbery and a deliciously passive-aggressive edge that made her exchanges feel like a tennis match of decorum and drama. She was poised, expressive, and delightfully over-the-top in all the right moments. Zoe Hitchcock was utterly charming as Cecily, giving very strong 'Reese Witherspoon' energy. Her sweetness, sass, and sense of timing all worked together to create a layered and entertaining performance.

One of the best naturalistic performances came from Sandra Harman as Miss Prism. Her portrayal felt lived-in and believable, and her scenes with Terry Skinner’s good-natured Dr Chasuble added a warm, gentle humour to the show. Played by producer Madeleine Johns, the iconic matriarch Lady Bracknell was physically commanding and dramatic, but lacked some of the bite the role demands. Ericson Ilustre, who also handled costume design, doubled as Lane and Merriman, bringing quiet comedy and presence to the stage while ensuring everyone looked stunning. Speaking of costumes—though not entirely consistent stylistically—they were thoughtfully chosen, flattering, and absolutely helped set the tone. Algernon’s purple sparkly velvet tails were a glorious standout, and Gwendolen’s evening gown was truly stunning.

If I had one quiet wish, it was that the women could project just a little more. The theatre competed with everything from leaf blowers outside to persistent coughers in the crowd, and a few lines were unfortunately lost in the mix—especially when delivered facing toward the wings instead of the audience. The one element that felt slightly off-kilter was the pacing. Some line stumbles led to slower pacing, with fellow actors having to recover or redirect the energy. Still, nothing could dull the brilliance of Act 3’s sheer absurdity. The chaos built to a glorious peak, with Jake Hollingsworth in particular shining as an exasperated Jack navigating revelations, confessions, and last-minute name swaps. There was always something fun happening between him and Algernon—whether stealing snacks, exchanging death stares, or trying to bluff their way out of their mounting lies.

All in all, this production of The Importance of Being Earnest was a loving, lively take on a classic comedy. Even after three reviews of this play, I still found new details to enjoy every time.

Photography Alan Burchill