Walking into Villanova Players' production of 'The Importance of Being Earnest', I knew I was in for an enjoyable show, but I wasn’t prepared for just how much my face would ache from laughing! This classic play by Oscar Wilde humorously pokes fun at Victorian society, and in the hands of director Leo Bradley, it sparkles with a refreshing new energy. After seeing a string of dramatic shows, this was the perfect comedic escape I needed, and it really hit the mark!
The play follows the misadventures of two bachelors, Jack Worthing and Algernon Moncrieff, who invent fake identities called "Ernest" to dodge their social responsibilities. Things get complicated when their love interests, Gwendolen Fairfax and Cecily Cardew, both become obsessed with the name Ernest and the men they believe are named as such, leading to a series of comedic misunderstandings and surprising revelations.
The cast's impressive accents and Wilde's clever dialogue come together beautifully, making even the familiar quotes feel new. Michael Ware’s performance as Jack Worthing (or Ernest #1) provides a perfect counterpoint to the exuberant characters around him, bringing a touch of dignity to the group. While he might be the more serious foil to his flamboyant companions, Ware's portrayal is enhanced by a polished accent and the demeanour of a gentleman, all wrapped up in a subtly humorous approach. His performance radiates a refined elegance that beautifully contrasts with Algernon's roguish character.
Dominic Bradley as Algernon Moncrieff (or Ernest #2) had me chuckling before he even opened his mouth (because he was devouring all the food in sight). There’s something about his natural comedic charm that makes every line feel tailor-made for him. He brings a creative take on the character, skilfully balancing paying tribute to the original while also adding his own spin. Algy is full of playful mischief, and Bradley nails it with every action and expression, never once dropping character. Together, this dynamic duo bring an authentic, brotherly chemistry to the stage. It feels like we are truly watching the lively bickering and muffin-fuelled brawl of these two contrasting personalities.
Then there’s Kristina Redwood, dressed in a striking mint green ensemble as Gwendolen Fairfax, who completely floored me with her portrayal. I wasn’t expecting to see Gwendolen played with such an entertaining mix of drama and humour, but she knocked it out of the park. Her scenes with Jack are delightfully audacious, featuring a hilarious push-and-pull dynamic that gave me a whole new appreciation for Wilde’s writing. I love how Redwood portrays Gwendolen’s tenacity; it’s such a brilliant mix of overt dramatics and sly humour.
Louella Baldwin brings Cecily Cardew to life with a sparkle as vibrant as the orange costume. Cecily is a whirlwind of youthful energy and romantic fantasy, and Baldwin infuses the character with such spirit that you can't help but be drawn into their whimsical world of daydreams and delusions too. They represent the many qualities of Cecily, from inattentiveness, playful naivety, and passive-aggression, all while delivering Wilde’s sharp dialogue with finesse. Their chemistry with Dom Bradley is a joy to watch, as genuine affection and long-time friendship shine through, making every shared moment between them sparkle with humour and warmth.
One of the most entertaining moments of the production is watching Gwendolen and Cecily’s relationship evolve from polite hostility to full-blown passive-aggressive rivalry, which culminates in an unexpected food fight. Seeing their initially courteous sparring evolve is such a joy to witness, as Baldwin and Redwood embrace the chaos with much enthusiasm. By the end of the scene, when the two finally bury the hatchet and realise they’ve both been duped, the transition from enemies to allies feels incredibly satisfying.
Elizabeth Morris as Lady Bracknell (Aunt Augusta) is the epitome of Victorian grandeur. Her imposing presence, sharp tongue, and disdainful snarl add layers of comedy to her role. Morris' every entrance commands attention, and she brings the perfect mix of authority and wit to Aunt Augusta. Andrew Alley brings a hilariously melodramatic performance to the stage as Dr. Chasuble. His scenes with Mary Woodall’s Miss Prism, are adorably sweet.
Nicole Bovey adds a humorous edge to the role of Algernon's housekeeper Lane, subtlety shifting from blasé to frustrated with just a roll of her eyes. Meanwhile, the ensemble’s involvement brings an unexpected layer of comedy. Typically, scene changes are a good time to glance at your program or take a quick sip, but not here. We are treated to mini-performances as the supporting cast use physical acting choices to keep the audience engaged and entertained. Whether transforming the setting or adding quirky touches, their efforts are a testament to the production’s commitment to fun and creativity.
What I love most about this production is how it takes something familiar and makes it feel fresh and exciting to watch. The set design exudes opulence through the antique furniture and lavish food, while the costumes are truly stunning—from Algy’s colourful wardrobe to Lady Bracknell's elegant ensembles. Every detail, from the glittering jewellery to the meticulous three-piece suits, contributes to the overall charm and authenticity of the production.
Bravo to all involved—this is a production that not only honours Wilde’s genius but also adds a delightful new layer of fun and physical comedy. The laughs come easily and frequently, and the audience’s joy is unmistakeable. I left the theatre feeling genuinely happy—like I’d just spent an evening with old friends who made me laugh until my cheeks hurt. If you’re looking for a night out that’s both smart and wildly entertaining, this is it.
Now playing until 1st September, 2024 at the Ron Hurley Theatre
Tickets available here
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