Oscar Wilde’s The Importance of Being Earnest has long been a staple of British theatre, its razor-sharp wit and satirical edge enduring through countless revivals. Max Webster’s production, which premiered at the National Theatre last year and now transfers to the Noël Coward Theatre with a new cast, offers a bold and flamboyant reimagining that throws tradition to the wind. While it’s often entertaining, this version doesn’t always land its punches.
Webster’s staging is unapologetically camp, bringing Wilde’s queer subtext to the fore with exuberant flair. The curtain rises on Olly Alexander’s Algernon, perched at a piano in a skimpy pink frock, setting the tone for a production that revels in excess. The four-act structure is restored, allowing for a glimpse of the rose garden before the interval, and the set design is undeniably stunning: from the opulent London drawing room to the pastel-hued country house adorned with nude statues, Rae Smith’s work is a visual feast.
The plot remains faithful to Wilde’s original: Jack Worthing leads a double life, posing as the fictitious Ernest in town while maintaining a respectable identity in the country. His friend Algernon adopts similar tactics, and both men find themselves entangled in romantic pursuits complicated by their deceptions. It’s a classic farce of mistaken identities and social satire, though here it’s filtered through a lens of slapstick and spectacle.
Alexander and Nathan Stewart-Jarrett (as Jack) frolic through the play with gusto, seemingly in competition over who can deliver the loudest line or the most exaggerated gesture. Their performances are energetic but often verge on the chaotic, with Wilde’s iconic one-liners too often lost amid the noise. Jessica Whitehurst and Kitty Hawthorne, as Cecily and Gwendolen, offer more grounded portrayals, though they too occasionally drift into absurdity.
The supporting cast leans heavily into caricature. Hayley Carmichael earns the biggest laughs as the dual butlers, while Shobna Gulati’s Miss Prism and Hugh Dennis’ Dr Chasuble are played for broad comedy rather than nuance. These choices, while amusing, dilute the sharpness of Wilde’s satire.
The standout is Stephen Fry as Lady Bracknell. Draped in exquisite gowns and crowned with a magnificent hairdo, Fry brings gravitas and precision to the role. His delivery of the infamous “handbag” line is pitch-perfect, and his presence elevates the production whenever he’s on stage. It’s the closest the show comes to genuine dramatic weight.
Ultimately, this Earnest is a colourful and chaotic affair. It’s enjoyable in parts, perplexing in others, and never dull. But in its pursuit of reinvention, it sometimes forgets the brilliance of Wilde’s original text. A bizarre curtain call caps off the evening, leaving audiences amused, if slightly bewildered.
