The Importance of Being Earnest | The West End

The Importance of Being Earnest (The West End)

Directed by Adrian Noble

Vaudeville Theatre, London – 10 Jul 15

Think Downton Abbey with a generous helping of wit, hilarity and even a bit of drag, and you’ve got yourself the current West End production of The Importance of Being Earnest. Starring David Suchet as the domineering matriarch Lady Bracknell, this play is a terrific demonstration of the brilliance of English theatre. Overflowing with classic Wildean wit Earnest has more one-liners than a modern day comedian can dream of, whilst at the same time portraying a bygone world of feathered hats and cucumber sandwiches. The play is set in the Decadent period and follows the escapades of John ‘Jack’ Worthing (Michael Benz) and Algernon Moncrieff (Philip Cumbus), two friends who both pretend to be the disreputable Ernest … who is in fact non-existent. Kept simple with three acts and three scenes this is a play to satisfy all audiences, and only those lacking a rational sense of humour will fail to see the sparkle of this production.

The ultimate ideal night out at the theatre has got to be one of two options: the performance is of a quality that simply blows you away, or has you rolling around in hysterical laughter. If you go to see this play, you will experience both. Oscar Wilde’s style of playwriting is so recognisable, and like anything else in life, is not necessarily everyone’s cup of tea, but it cannot be denied that he knew how to tickle an audience. The characters in this production are almost ‘overplayed’, but rather than becoming a negative aspect it is more as if they are making a point and ridiculing their own characterisations. Cecily Cardew (Imogen Doel) is, for example, the naive young girl complete with breathy sighs and an over-romanticised view of life – so over-romanticised that she considers herself formally engaged to a man she has heard of but never actually met. Even the concept of ‘Englishness’ does not escape the clever mockery of this play. An altercation between Jack and Algernon in Act II turns into a full-blown argument over muffins, and an affronted stand-off between Cecily and the Hon. Gwendolen Fairfax (Emily Barber) cannot quite overcome the importance of afternoon tea.

The character of Lady Augusta Bracknell, a part that has previously been portrayed by the likes of Dame Judi Dench and Dame Maggie Smith, is brought to life in a whole new way through David Suchet’s wonderful versatility as an actor. In a massive leap from the quiet genius of Hercule Poirot, Suchet’s Lady Bracknell could possible top even Downton Abbey’s Dowager Countess of Grantham as the ultimate female vessel of upper-class power and arrogance. A character that you both love and despise, Lady Bracknell is unfortunately absent during Act II, but the quirks that Suchet brings to the portrayal will stay with you until well after the curtain calls have ended. Never has the simple act of opening a notebook raised such a reaction from an audience, but it is the small looks and gestures that make Suchet’s performance in Earnest so particularly superb.

It is difficult to beat truly classic English theatre, and Oscar Wilde’s plays definitely fall into this category. Aside from being rather ahead of his time with his use of epigrammatic wit and his views on society, Wilde also seems to pay tribute to one of his predecessors in classic theatrical work. With a plot full of mistaken identities, mixed lovers and a final scene that brings all of the characters together, Earnest could very well be a Shakespearean play. This may not be the most sophisticated of plotlines in the current theatrical world but nothing could be more fitting for a play so full of satiric wit and social commentary. On the whole, this production milks everything it can from Wilde’s virtuoso as a playwright and the result is, without a doubt, English theatre the way it ought to be.

NB: There will be a live cinema broadcast of this production on 8^th October – I highly recommend that you get that in the diary!

Once | The West End

Once (The West End)

Directed by John Tiffany

Phoenix Theatre, London – 09 Oct 14

If in the near future you see just one show, you should choose Once without any hesitation. Based on the book by Enda Walsh and the film by John Carney, this “revolutionary new musical” is a stunning compilation of fantastic live music, inventive theatricality, and a truly believable storyline. The music alone – written by Glen Hansard and Markéta Irglová, both of whom starred in the film – is enough to justify the enthusiasm in this review, and this adaptation from screen to stage goes beyond the traditional interpretation of ‘musical theatre’ and creates something far more understated and powerful.

Theatre is an art form that unfortunately encompasses a boundary between the artist and the spectator, so it is a rarity to attend a theatrical show and feel positively involved in the production in some form. Once unconventionally breaks down the divide between the performers and the audience in a pre-show intermingle, in which the audience can wander freely onto the stage and buy drinks at the set’s own bar, whilst listening to the cast’s on-stage warm-up of traditional folk songs (the only downside of this is the subsequent disappointment that these pre-show songs aren’t included on the soundtrack!). A captivating folksy ambiance is immediately established by this means of opening the show, settling the audience into the perfect frame of mind for the rest of the performance.

Talent overflows from the Once cast members throughout the entire show, and the amalgamation of music and dance demonstrates this in a truly unique manner. The dancing varies from simple pedestrian movements to strong upbeat numbers of stamping and clapping, but is all done with the cast simultaneously playing the show’s live music. Obviously this is all rehearsed, but there is a refreshingly spontaneous feel to performances. The songs come at everyday moments within the story – busking on the street, at a karaoke night, hanging out with a group of friends – but also accompany the scene changes. Scenic designer Bob Crowley’s one scene set of the inside of a bar serves throughout the entire show, so the instrumental breaks add flow and progression to the storyline.

Like reading a book, attending a show at the theatre is often motivated by the chance for escapism. However, immersing oneself in another world usually also involves a jolt back to reality when the curtain closes, but Once is different in the world it portrays. Set in Dublin, a guy (played by David Hunter) meets a girl (Jill Winternitz) and they play music. That is pretty much it. Other characters get involved, but it comes down to one guy and one girl and they music they play together. It is arguably a love story, but as much about a mutual love for music as love for another person. All in all, the story is so natural and unassuming you can lose yourself in it without having to bring yourself back to reality afterwards. It feels, quite simply, real.

Once is without a doubt a production of artistic brilliance, and if you like theatre, music or both you will love this show. It has appeal on so many levels, and absolutely deserves to be seen, heard and enjoyed by as many people as possible. For myself, seeing this show once is definitely not enough.

NB: Once will be ending in London’s West End in March 2015 before starting a European tour – see it whilst you still can!

Memorable Musical Moments

Despite the huge range of musical theatre shows that captivate audiences day in and day out, every fan will have a few key moments from the stage that they particularly remember above all the others. The five numbers below are the best and greatest from my own musical experience, for after watching/hearing them for the first time, each has stayed with me and remained an undeniably firm favourite.

Please feel free to comment with any of your memorable musical moments.

 

Falling Slowly – Once

I first heard this song when watching the film version of Once, and the almost documentary-style of the film really highlighted the beautiful simplicity of the song. In contrast the stage version incorporates the full cast, adding further layers of intensity to the music. The build-up throughout is subtle and yet powerful at the same time, and although it is made up of just three central melodies it is the sort of song that can be listened to again and again.

The Jellicle Ball Dance – Cats

This number has been a long-time favourite for me, as it is pure dance rather than a combination of dance and song (often a rarity in musicals). The energy and sheer drive of the dancing alongside Andrew Lloyd Webber’s fabulous music makes this number difficult to forget, and the high kicks and leaps remind me of the modern/jazz style of dance I learnt at dance school.

Anthem – Chess

Whilst ‘Anthem’ is a wonderfully moving song whenever and however it is performed, this particular version by Kerry Ellis and Brian May is the one that really got me hooked. A great aspect is that you don’t necessarily need to know Chess in order to love this song – I for one have never seen it and still think that this song can stand on its own.

Electricity – Billy Elliot

I think anyone who loves that feeling you get when you dance can relate to this number. The switch between the unpretentious song and the upbeat dance section is a great contrast, and I love the fusion of classical ballet and modern style dance. And in the end, a whole number dedicated to the feeling of dancing … yes please!

Circle of Life – The Lion King

As much as I love so many shows and musicals, the opening of The Lion King is the only number to have moved me to the point of tears. Ironic really, when it is not upsetting or depressing, but I have the word of many others who have experienced this as well! The sheer brilliance and genius of the production is summed up into this one number and, in my opinion, cannot be beaten or forgotten.