c Marc Brenner
Fizzing with excitement and curiosity, the audience at the National Theatre’s The Importance of Being Earnest was in for glorious and sensorial treat.
At the centre of plush, red, velvet curtains contained a suspended leather handbag, framed by a Grecian style façade and made complete with gold trimmings. The curtains drew back revealing a grand piano being played by Algernon Moncrieff, (Ncuti Gatwa). Adorned in hot pink and set amongst an opulent Victorian set, Gatwa is joined by a bevy of dancing performers in formal period gowns, crisp white shirts and black tailcoats, all displaying wealth, gender bending decadence and sexual power.
From the outset, it was fiercely apparent that the NT’s adaptation of Oscar Wilde’s iconic play would fully embrace queerness, duality and heighten theatricality.
The Victorian period saw the transformation of rural England into an urban and industrial metropolis. The dichotomy between the lives of the upper set and lowly classes is most evident in the themes explored in this farcical and satirical play.
The Importance of Being Earnest breaks down the notion of respectability, manners and etiquette; pokes fun at the members of the elite social strata – who know their place in society and expect others to adhere to the rules. Wilde suggests that style does in fact mean much more than substance in the higher echelons of society.
The play centres two affluent and bored gentlemen, Jack Worthing (Hugh Skinner) and Algernon Moncrieff. The two protagonist try to win the affections of and marry Gwendolen Fairfax (Ronkẹ Adékọluẹ́jọ́) and Cecily Cardew (Eliza Scanlen). The aforementioned bachelors lead double lives; one persona in the idyllic countryside and the other keeping up appearances in high society. To fulfil their deep desires, both bachelors use pseudonyms, but are found out much to the disbelief and dismay of Lady Bracknell (Sharon D Clarke), Miss Prism (Amanda Lawrence) and Reverend Canon Chasuble (Richard Cant). The respectability politics at the heart of the play is upended by the protagonists’ deceptive guises and steadfast secrecy.
Tradition is upheld by the stoic and assertive matriarch Lady Bracknell, whilst frivolous and charismatic Algernon tries to evade conformity at every turn. Jack’s neurotic and untethered physicality makes one ask certain questions about the piece: What are the true identities of these characters? What are their values? And what do they really want? Words and actions constantly change with the wind and are weaponised to gain favourable outcomes. The ambiguity within the character’s dialogue lends itself to great tongue in cheek performances by all the cast.
c Marc Brenner
Gwendolen, Cecily, Miss Prism and the Reverend represent characters who are sexually repressed and have little access to the power needed to realise their own fates. Their fantastic romantic and whimsical portrayals of people in love add to the absurdity of the play. Identity, sexuality and gender fluidity are ever present, sometimes suggested in nuanced offerings and at other times displayed through physical comedy or an aside to the audience. It’s a gift to watch Gatwa and Adekoluejo triumph in this banter, while breaking the fourth wall.
As the late Victorian period saw an increase in black students and entrepreneurs, I was gladdened by the levels of diversity and representation shown on stage. References to African-Caribbean culture were impactful such as the choices of coloured fabric, the hair styling, the head wraps, and finale costumes. This representation was strongly embedded in the accents, mannerisms, and the tonal delivery of characters such as Lady Bracknell, Algernon and Cecily.
The sexual freeness of Wilde’s work is ever-present and exhibited through the physical proximity and witty exchanges evident in the sub text between Cecily, Gwendolen, Jack and Algernon. These two gentlemen could, in today’s parlance, be viewed as being Down-Low (DL*) – bachelors exploring their sexual proclivities, away from prying eyes.
The music by DJ Walde complements the production well and gives a nod to Bridgerton franchise. The score features contemporary music finessed and given a Victorian twist from stars such as Miley Cyrus.
Kudos to the sublime cast, whose pace, timing, razor-sharp wit and commitment to storytelling deserve to be loudly applauded.
Joyce Henderson’s physical comedy and Carrie-Anne Ingrouille’s movement direction elevate the already magnificent, detailed, and grandiose direction by Max Webster. While I am handing out flowers, I will send a special bouquet to Rae Smith whose spectacular designs, draw on the colours of Carnival, the grandeur of Drag Ballrooms and the polish of Victoriana.
Although Oscar Wilde was in pursuit of fame and notoriety, he was also in search of freedom, truth and self-expression. The Importance of Being Earnest exemplifies the folly of upholding anarchic systems which only serve to squash self-actualisation.
The production is a must-see, bring a handbag and a friend!
*(DL) Men who usually identify as heterosexual but actively seek sexual encounters and relations with other men.
Need to know: The Importance of Being Earnest plays at the National Theatre until 4 Jan 2025
