The Importance of Being Earnest → State Theatre Company

 Now THIS is how you freshen up a classic! This is how you deliver a work its original author would’ve wished he could see.

This, is The Importance of Being Earnest by The State Theatre Company of South Australia, directed by Petra Kalive. 

Originally written by Oscar Wilde in 1895, The Importance of Being Earnest was Wilde’s final, clever dig at Victorian Society, crafting an infamous work rife with situational irony. Wilde was a Queer artist, and in a homage to what he couldn't explicitly say at the time, Kalive has chosen to ignite Wilde’s original radical sparks. 

The work is simply placed in a context for modern audiences by gender-bending the roles. And as a result, it becomes a celebration of Wilde’s original intent. Wilde was known to critique the gender binary, and Kalive does this with a sharp statement that all identity is, in fact, a costume. For younger audiences who may be not as familiar with the story, this creative choice is a genius and accessible way into the show’s themes. 

Wilde’s original play is a whirlwind comedy of mistaken identities, romantic entanglements, and delightfully absurd deception. It is Jack Worthing and Algernon Moncrief who each adopt the name “Ernest” in an attempt to woo their desired ladies. Yet in the rigid expectations of Victorian life, their lies quickly unravel in a comedic reveal of deceit, miscommunications and secrets.

The show as a collective is a feat to be proud of– a majority South Australian-based Cast and Production Team has been assembled. A grand, rotating set takes us to the two settings: Algernon Moncrieff's flat and then the Garden of the Manor House. Designed by Kathryn Sproul, it's a visual feast that stretches the length of the playhouse. It has nods to Victorian design with touches of romanticism (the looming flower arch in particular). 

Carla Lippis opens the show as Lane the servant, singing an original jazzy song written for the show. This musical addition has the audience instantly intrigued. Later at the Manor house, Lippis becomes Merriman, the butler. Throughout most scenes Lippis is there, in a contrasting dark costume, observing this chaos from the shadows— a statement that the working class are unable to play pretend. Lippis sings again at the show’s joyous conclusion, make sure you take note of her genius lyricism here!

Teddy Dunn as Jack Worthing and Anna Linder as Algernon Moncrief have an impeccably hilarious onstage dynamic. Their banter and physical comedy keeps the riotous pace of this show going. Initially Dunn is poised and certain, a foil character to the laid back mannerisms of Linder in her fluro orange ensemble. As the entanglements ensue, Dunn becomes increasingly frazzled, revealing his animated and beleaguered side as the lies spiral. Together, they are the show’s comedic weapons. 

Connor Pullinger and Pia Gillings are Gwendolyn Fairfax and Cecily Cardrew, the show’s spirited heroines. Pullinger, in a blue dress with Converse, comes at the role with a comedic sense of vanity and confidence. Gwendolyn IS the drama, and revels in her power over “Earnest.” In Pink, Gillings is the playful Cecily. Naive to the circumstances, yet certain of herself. When the simmering tension between them snaps, earrings are removed and punches are nearly thrown, before the women band together in a funny dig at female friendships. 

Lady Bracknell, played by Glenda Linscott, nails this mother’s overbearing presence, speaking in a loud regal drawl. She is a symbol of those who try to uphold the ways of society, without even knowing why herself. Linscott is another comedic standout throughout the piece, delivering many one liners that are clever commentaries on society as we still know it. 

As gender-swapped roles, Caroline Mignone as Rev. Chasuble and Nathan O’Keefe as Miss Prism freshen up this sub-plotline for modern audiences. Their mannerisms with each other are incredibly humorous to watch. 

An accessible, lively and inventive revamp of a classic like this offers an engaging entry point for young audiences, while still paying homage to Wilde’s sharp wit and intended social satire. This amazing team is an incredible representation of what South Australian talent can achieve, and is a work State Theatre should present loudly and proudly to the rest of the country. 

⭐⭐⭐⭐⭐

- By Sophie Tsoulos

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