THE IMPORTANCE OF BEING EARNEST. To 21 August.

Southwold/Aldeburgh

THE IMPORTANCE OF BEING EARNEST
by Oscar Wilde

St Edmunds Hall To 14 August then Jubilee Hall, Aldeburgh 17-21 August 2004
Runs 2hr 15min One interval

TICKETS: 01502 724441 (Mon-Fri 11am-4pm; Sat 11am-1pm/
01502 722389 Mon-Fri 5pm-9 .30pm; Sat 2pm-9.30pm (Southwold)
01728 453007 (Mon-Fri 11am-4pm; Sat 11am-2.30pm/
01728 454022 Mon-Fri 5pm-8.30pm Sat 4pm-8.30pm (Aldeburgh)
Review: Timothy Ramsden 10 August

City win hands down in a revival with several strong performances.This might not have the innovative approach of Bill Alexander's Northampton production, or the depth of the recent Royal Exchange revival, but it's a firm account with some fine individual performances.

Maurice Rubens' set recalls the Exchange's mixed pastoral and gothic for the later acts (Rubens is the regular Southwold designer; his work is ingenious in solving the technical problems of a small stage, always contributing to a production's atmosphere). His first act suggests Algernon's manner through extensive display shelving - echoed by the ever-joyous Richard Emerson's portrayal. Though this could benefit from more sense of character; Algernon is more than a series of poses.

He's balanced by Jerry Hinks' suave Lane, whose perfect-servant demeanour protects himself as much as his master, and Jonathan Jones' John Worthing. Jones remembers that John is distinct from Algy. Emerson's cadences explode into the air; Jones damps his comments with propriety and anxious facial expressions.

This male world is invaded by a magnificent matriarchy. Kitty Lucas' Gwendolyn is highly composed, ready with the social reaction for any moment, more aristocratic than her mother who has successfully brought her up alert to social decorum and nicety.

Jill Freud's Lady Bracknell is a reminder this woman achieved wealth and status by marriage. She's no social lioness, and is alarmed to find Worthing present in her nephew's rooms. Anything unexpected could threaten her adopted lifestyle. Discovery of his origins in a handbag leads her to a moment's stuttering inarticulacy. And her statement about altering a London square's social profile comes over as a task to be achieved rather than a command to be obeyed. Rarely has Lady Bracknell's comment about only those unable to enter society speaking ill of it seemed so pertinent.

The country scenes are harder to bring off; there's not quite the snap and crackle of contrast with the townies. But Patience Tomlinson's Prism has an admirable calm. She's someone who could find the fall of the rupee overly-sensational for young eyes, and for whom the recovery of her handbag consumes all her attention despite the rest of the plot going on around her.

Lane: Gerry Hinks
Algernon Moncrieff: Richard Emerson
John Worthing JP: Jonathan Jones
Lady Bracknell: Jill Freud
Gwendolyn Fairfax: Kitty Lucas
Miss Prism: Patience Tomlinson
Cecily Cardew: Amy Price
Rev Canon Chasuble DD: Anthony Falkingham
Merriman: Jamie Pullen
Maid: Charlie Cameron

Director: Richard Frost
Designer: Maurice Rubens
Lighting: Jim Laws
Costume: Richard Handscombe

2004-08-12 16:45:33