The Importance of Coming Out of the Closet
“Never speak disrespectfully of society, Algernon.
Only people who can’t get into it do that.”
Lady Bracknell
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The high-minded Victorian critic and weirdo John Ruskin was sued for libel by the artist Whistler for calling one of his impressionistic works “a pot of paint thrown in the public’s face.” He was also a friend to Oscar Wilde so we can only guess what he might have thought of Max Webster’s revival of Wilde’s masterpiece.
We asked a Medium to get in touch with both men. Wilde didn’t return the call. But Ruskin appears to have said, “The total effect is a of giant chocolate eclair filled with strawberry ice cream and nitrous oxide – a decadent blend of self-indulgence and hysterical laughter.” At least wherever Ruskin is now he probably can’t be sued.
Lovers of the playful paradoxes and ironic wit of Wilde’s classic farce might well be upset by the ‘re-imaginings’ that characterise this production.
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The action now opens with a prologue featuring a scantily-dressed Algernon Moncrieff (Elliott Pritchard for tonight’s performance in the absence of an indisposed Ncuti Gatwa) playing a piano in what appears to be a very very private gentleman’s club to amuse some very private gentlemen in a way Little Richard could only dream of.
We can’t say we weren’t warned. This is a farce that dares to speak its name. The closet door is wide open. In Act 3 two much larger than life male nude statues attract the attention of Jack Worthing (Hugh Skinner) who seems to have made a habit of stroking the breast of the left hand one. Cicely (Eliza Scanlen) attends closely to another part of the one on the right.
Both young ladies are very saucy. Cicely has already scared the horses with her prone bare-legged exercises in the garden and at the start of the last act her head emerges from under the conveniently well-bustled skirt of Gwendolen (Ronke Adekoluejo). Gwendolen herself has an explosive vocal range whose exact emotional register is impossible to determine.
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The protestations of devoted love for the ladies by both Jack and Algernon are sublimely unconvincing and both men emit four letter words at moments of stress. So we naturally expect Lady Bracknell (Sharon D Clarke) to use the prevailing licence, to say something even more provocative. Sadly she settles for making the most of Jack being found in the famous ‘handbag’ when she could at least have said ‘a johnny bag’, allowing Jack the opportunity to reply “They couldn’t find one big enough.”
There are many less sensational pleasures to be had in this production; Reverend Chasuble (Richard Cant) and Miss Prism (Amanda Lawrence) who seem to throb with unrequited lust. Both butlers – Lane and Merriman – are played by Julian Bleach who appears to channel Dirk Bogard’s very sinister The Servant and Julie Walter’s boneless Mrs Overall from Acorn Antiques.
Set and Costume designs (by Rae Smith) are a voluptuous treat.
Whatever the audience brought to the show they mostly left with a smile on its face.
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Production Notes
The Importance of Being Earnest
Written by Oscar Wilde
Directed by Max Webster
Cast
Starring:
Sharon D Clarke
Amanda Lawrence
Elliot Pritchard
Gillian Mccafferty
Hugh Skinner
Jasmine Kerr
Julian Bleach
Ncuti Gatwa
Richard Cant
Shereener Browne
John Vernon
Ronkẹ Adékọluẹ́jọ́
Eliza Scanlen
Creatives
Director: Max Webster
Composer: DJ Walde
Set Designer: Rae Smith,
Isabel Muñoz-Newsome
Costume Designer: Rae Smith,
Petros Kourtellaris
Movement Director: Carrie-Anne Ingrouille, Joyce Henderson
Lighting Designer: Jon Clark
Sound Director: Christopher Reid, Nicola T Chang
Information
Running Time: Two hours 45 minutes including an interval
Booking to 25th January 2025
Then cinema screening from 20th February 2025
Theatre:
Lyttelton Theatre
National Theatre
South Bank
London SE1 9PX
Tube/Rail : Waterloo
Website: nationaltheatre.org.uk
Reviewed by Brian Clover at the
Lyttelton Theatre at a performance on
14th January 2025
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