This is a Wilde/wild night all right – oh so deliciously wacky, in fact. Bloomshed has taken the essence of Oscar Wilde’s original farce, first performed in 1895 and given it an even more ribald and rambunctious twist. Who plays whom at any given moment appears to be somewhat of a lucky dip. Suffice to say, it is loads of fun trying to determine just who is being earnest, or should that be Ernest? What Bloomshed has also cleverly done is to insert Wilde’s life into the play.
The four actors give it their all, whether expressing their love or gallivanting about bunburying (avoiding responsibilities), as Algernon (Algie) is prone to do. They have a wow of a time, as do we, the audience, trying to keep up with the cross-dressing shenanigans. All Wilde’s key characters are retained, with the talent filling multiple roles.
For those unfamiliar with the plot line, you have Algie, who is an idle and colourful bachelor, and his best friend Jack Worthing, who leads a double life. Jack is in love with Algie’s cousin Gwendolen and she with him, but only if his real name is Ernest, which is what she knows him as. In fact, she is fixated on that name. Then there is Cecily, Jack’s ward, who is also obsessed with the name Ernest. She has invented an elaborate courtship and engagement to Ernest.
Algie has an uppity aunt called Lady Bracknell. She is Gwendolen’s mother and wants to see her daughter marry well. With ulterior motives, both Algie and Jack approach Dr Chasuble, the rector on Jack’s estate, asking to be christened “Ernest”. In terms of “the feels”, the rector in favourably inclined towards Cecily’s governess, Miss Prism. And then we have Algie’s manservant Lane, who appears to have the patience of Zeus, and is well accustomed to Algie’s bunburying and arrogance.
Bloomsberg has gone to town with cucumber sandwiches and full cucumbers, indicative of excess and erotic satisfaction. In this representation, Algie is very much front and centre from the opening scene. As you enter the theatre, he is sleeping in an attractive brass bed before rising from his slumber to begin proceedings with revelry aplenty. Many a time throughout this 70-minute production the fourth wall is broken, bringing even more mirth and merriment. I was quite besotted by the mayhem, madness and subterfuge, although I could have done without the pungent herbal cigarette.
Bloomshed produces cutting edge political satire and re-energise classic texts with aplomb. They always entertain and this version of The Importance of Being Earnest is hilarious. Plaudits to James Jackson, Elizabeth Brennan, Tom Molyneux and Hayley Edwards. “Importance” presents rich pickings in terms of its look and sound. Set and costume designers Nathan Burmeister and Sam Hastings haven’t held back. They have gone for showy and it hits the spot. An evocative soundscape from Justin Gardam and mood lighting from John Collopy complete the picture of the perverse.
If you are into uproarious and pithy comedy, do yourself a favour and see The Importance of Being Earnest. It is on at fortyfivedownstairs until 11th August, 2024.
