Review: The Importance of Being Earnest

****

Hotly anticipated, Ed Fry and Cara Mahoney’s wild(e) debuts, directing Oscar’s The Importance of Being Earnest, likewise debuted the resurrection of the prodigal son of St. Andrews’ theatre: the Byre. Saturday night’s final, sold-out show was a tour de force in theatrical gloss and efficiency, but was Earnest more than its venue?

Notable about the Byre is its bigger stage and bigger audience. However, the production succeeded because of the way these areas were filled. In terms of audience, attendees included, but were not just restricted to (!), students, which was very refreshing. In terms of stage, the grandiose set, designed by Caroline Christie, originally included ultra plush furniture, a bookshelf, and a homely backdrop before it was rolled away and replaced by garden hedges and a descending swing. The attention to detail was appreciated; an attention that pervaded costume, light, sound, directorial capabilities and, of course, dramatic talent.

The cast was generally strong. Edie Deffebach absolutely commanded the stage as Lady Bracknell. Embodying a, surprisingly saucy, demeanour, Deffebach displayed professional commitment to her character’s physicality in every pursed pout, eyebrow raise, straightened back and twiddling of her walking stick. Her accent was as ostentatious as it should have been, reverberating around the lofty, Byre space well, having been believably aged, and the audience sniggered over each rhythmic line delivery. Arnie Birss was a wonderfully well-cast Algernon, eulogised by the very well-painted portrait hanging behind him. Birss’ flamboyant expressions and flashing eyes flourished in the wink-wink/nudge-nudge comedic style, and his characterisation was spot on. In general, the cast consistently displayed great comic timing. This was especially obvious in the back-to-back tea scenes, with Laura Francis’ Cecily provoking Emma Taylor’s Gwendolen first, followed by Birss’ Algy and Oliver Gillford’s Jack and the notorious muffins. Even the stagehands (cleverly disguised as maids) were funny. However, it must be said that some performers missed the mark, overplayed the comedy, to detrimental effect, and were overshadowed. The high bar set by some of the noted performers in the opening scenes meant that their absences were sorely missed. However, as the second act progressed, and more and more characters gradually joined the stage, the silly delirium increased as the cast fed off of the increasing on-stage energy. Characters expanded as a result, but, then again, maybe that was down to the cucumber sandwiches served at the interval; a highly satisfactory touch. Nevertheless, by the time of the concluding, unbelievably farcical, revelation, ribs were crying in spite of the, slightly tame, ending.

Earnest promised swinging from the rafters, an ultimate happy-ever-after, and, most importantly, lots and lots of laughter. Whilst I’d say that the production delivered on these accounts, the true importance of The Importance of Being Earnest, and what should be taken away from it, is a new hope for student theatre in St. Andrews: all that the Byre offers. If Earnest failed to stray beyond the confines of that which is expected from a Wilde show on stage, the location of said stage transcends. Regardless of Earnest‘s merits as a production, its minty-fresh, vamped up setting was a highly important, and much needed, new spark, at least partly responsible for setting the audience’s hands on fire. How the production would have fared in the Barron, we’ll never really know – but at this point, I suppose that’s history. Much credit goes to Ed, Cara, producer Emily Rogers, and the entire team, who clearly know how to put on a show.

Photos courtesy of Cara Mahoney.