‘Earnest’ highlights Wilde’s brilliance
If nothing else, the Actors Repertory Theatre’s ripe version of “The Importance of Being Earnest” proves that Oscar Wilde is among the most entertaining cynics in history.
Take this line, for example, when Jack Worthing discovers to his horror that he was right about something: “It is a terrible thing for a man to find out suddenly that all his life he has been speaking nothing but the truth.”
The great thing about “The Importance of Being Earnest” is that this is no throwaway line. We really do feel for poor Jack Worthing. In Wilde’s upside-down world, being serious, truthful and responsible is a tragedy.
In fact, the best way to understand “The Importance of Being Earnest” is to think of it as a kind of bizarro-world, in which every notion that encourages a just and well-regulated society is turned backward on itself.
Take this line, from the truly egregious Lady Bracknell: “I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone.”
It helps to know that this was written at the turn of the previous century, when well-meaning upper-class British women were generally quite vocal about improving the lower classes through education. So this line serves not only as comic reversal – saying the opposite of what listeners expect – but it is also biting social criticism. It reflected exactly what a lot of upper class snobs truly believed, even if they weren’t allowed to say so.
“The whole theory of modern education is radically unsound,” Lady Bracknell goes on to say. “Fortunately in England, at any rate, education produces no effect whatsoever. If it did, it would prove a serious danger to the upper classes and probably lead to acts of violence in Grosvenor Square.”
This is all delivered with high energy and good comic effect by director Michael Weaver and a skilled professional cast. Topping the list is Damon Mentzer, who plays Jack, aka John Worthing, with a dry and effective combination of befuddlement and resoluteness. Mentzer has emerged as one of the region’s most versatile and intelligent actors.
Jon Lutyens is a breezy and enjoyable Algernon, who makes the most of his many absurdist proclamations, including, “It is awfully hard work doing nothing. However, I don’t mind hard work where there is no definite object of any kind.”
Karen Nelsen is comically imperious as Lady Bracknell, a woman who manages to be both battle-axe and purebred greyhound. She rolls every self-satisfied pronouncement around in her well-bred mouth until it emerges in a smug and plummy caricature of the upper-class matron of privilege.
Caryn Hoaglund-Trevett and Kari McClure play the two young love interests, Gwendolen Fairfax and Cecily Cardew, with delicious and intentional superficiality. Patrick Treadway adds an effective character turn as Rev. Chasuble.
The cast is top-flight in terms of professionalism and craft. The upper-class British accents are right on the mark, and the comic timing is often effective.
However, a few subtle choices in direction kept this production from being the all-out comic catharsis it could have been. In general, Weaver’s direction leans more toward frantic and antic than dry. I think the show would actually be funnier if delivered with a wry, sardonic tone. Mentzer proves that with his performance. Also, the dialogue is too often rushed and jammed together. Wilde’s epigrams need to be savored a little more slowly.
This may explain why I felt appreciation and respect for this production, rather than unconditional love. The audience response in general seemed slightly restrained.
However, perfection is never easy to attain with Wilde, and thankfully, not necessary. The verbal wit rolls along so consistently that I dare anyone not to be entertained, amused and occasionally even shocked.
Yes, Wilde still has the capacity to shock the smug.