The Importance of Being Earnest - By Oscar Wilde

WITH a pre performance soundtrack that includes songs by Kylie and ABC and a silver chrome table and chairs, you’re in no doubt you’re about to experience a very different version of this masterpiece of a play. Director Nick Sample’s decision to transport this exquisitely crafted comedy to the Internet age works. And it works spectacularly well. Previous productions have irritated me and while there were obviously Wilde’s witticisms to enjoy, I always found it hard to like this menagerie of irritating, entitled upper class twits. But, thanks to Sample’s skill and ingenuity he manages to make me like them and actually enjoy spending time in the company of the scheming Algernon Moncrieff and Jack Worthing. It would be unjust to let Sample take all the credit though as the entire company displays a sense of timing that would sit very well on a professional stage. Chris Shoop-Worall and Jamie Sloan are an engaging and natural double act as Moncrieff and Worthing, as they deftly try to catch the objects of their affections. Antonia Whitehead is a formidable Gwendolen Fairfax, who has her sights well and truly set on Jack, for a reason I refuse to divulge to those who may be unfamiliar with the play and there’s a memorable spat between her and Cecily Cardew, played by Lauren Robinson, after a classic misunderstanding. There are some social references that obviously date the play. Cecily, for instance has a governess played by Sarat Broughton who gives her best performance at this theatre to date for me as the awkward, uptight Miss Prism and there’s a memorable scene with her and Adrian Grace as the lovable, old school cleric the Rev Frederick Chasuble. Wilde also uses his genius to send up the class system and the way it gives the upper classes carte blanche to behave as they like. If the cast serves us up a treat, so does Barry Purves with a clever, eye catching set. A production to really go Wilde about - this is the Garrick’s best comedy of the season for me. Until January 21. The box office is on 0161 928 1677 or you can book online at www.altrinchamgarrick.co.uk. Star rating - *****

"A Haaaaaaandbaaag?!!" - well, no, not really.. more of a ladies' Puma sports bag actually.... (the logo is immaterial...!)

Yes, this was Altrincham Garrick's latest production of the Oscar Wilde favourite, 'The Importance Of Being Earnest', but not as we know it. Updated to the present day, with references to politics, social media, computers, and goodness knows what else, the script had been changed somewhat to reflect our current times. It did however still retain most of the original dialogue, and hereby hangs the rub. Wilde's writing is extremely stylised, a true comedy of manners, and his speech patterns and rhythms seemed to be at odds with the modern world and references thrown in. It didn't quite work, but it was a brave effort and once one became used to this, it became much easier to accept.

A striking and actually quite simple set design of a single angular wall dividing the stage which turns round from town house to country worked surprisingly well, and Nick Sample's direction was a pure joy. Obviously Sample has a great sense of impish fun, which was shown throughout, adding his own little comedic touches. The production was slick and tight, and the overall arc of the production was considered and well-placed.

To my surprise, a short scene in the second act - which is normally omitted, and not even printed in some playscripts, a scene involving a certain George Gribsby - had been included in this production, and it was the first time that this particular reviewer had seen it performed live. And although I understand it's omission, it was extremely interesting to see it performed, as it did add another layer of deceit, duplicity, comedy, etc, that would not have been there without it.

Heading a strong cast were our two would-be Earnests; Chris Shoop-Worrall as Algernon Moncrief, and Jamie Sloan as John (Jack) Worthing. Both had made their characters their own, and showed a lovely understanding of both their roles and their characters' development. Playing 'against' them were their two love-interests; Antonia Whitehead as a very forthright, commanding, determined Gwendoline, whilst Lauren Robinson's Cecily Cardew was no less determined but a little more demure. Again they worked well both individually and together, and as a foursome the quartet were formidable.

Adrian Grace gave a very understated and believable portrayal of a village vicar, Rev. Dr. Chasuble, and Sarat Broughton gave a very secure performance as the unwitting germinator of the whole farce. Sarah Kirk gave the role of Lady Bracknell a new, modern, and interesting style, but for this reviewer at least, it felt a little out of kilter with the domineering 'gorgon' that she really needs to be. Gwendoline's character was a Lady-Bracknell-in-training, and I was waiting for the full force of her 'majestic indignation' which sadly never materialised.

A very proficient and focused production, which may not be to everyone's liking, but one cannot deny that the cast gave excellent performances, the direction was clever and original, and the play still extremely funny and well worth the braving the inclement winter weather to be so entertained.

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