Category Archives: Reviews

THE IMPORTANCE OF BEING EARNEST

★★★★

Reading Abbey Ruins

THE IMPORTANCE OF BEING EARNEST at  Reading Abbey Ruins

★★★★

“a wonderful adaptation of the Wilde Classic in a uniquely atmospheric setting”

The wit of the famed Irish playwright sparkled in the evening sun in this outdoor production by Progress Theatre. In the shadow of the gaol in which he was incarcerated for ‘the love that dare not speak its name’ well known Wildean epigrams bounce off the walls of the former Reading Abbey’s chapter house. We all know and relish Lady Bracknell’s (Caroline Warner) pronouncement on the ‘carelessness of the loss of two parents’, her astonishment at the receptacle in which the infant Jack Worthing (Chris Westgate) was found or the ‘immateriality of the line’ on which he was found and her daughter Gwendolen Fairfax’s (Stephanie Ness) declaration of the ‘sensational reading to be found in one’s own diary providing entertainment on a train journey’. However, the cast and director (Steph Dewar) highlighted many others including ‘The truth is rarely plain and never simple’, ‘All women become like their mothers. That is their tragedy. No man does, and that is his’ and ‘The good ended happily, and the bad unhappily. That is what fiction means.’ 

The simplistic but effective setting covering the three acts in the town house of Algernon Moncrieff and Jack’s Hertfordshire estate works well within the historic setting; despite my initial misgivings that this ‘drawing-room comedy’ might be lost in the expanse of the outdoor venue. Costumes (Wendy Hobson and Chris Moran) and the required minimum of furniture and props provide the period elegance to anchor the production in its mid-1890s setting. The skilful interval split, mid Act II, works well to keep the pace racing along towards the conclusion.

Hindered in his attempts to keep his two worlds from colliding by the intervention of his friend Algernon, played with bubbling mischievousness by Matthew Urwin, Jack finally resorts to ‘killing off’ his fictional miscreant brother Earnest, who by continually misbehaving ‘in town’, provides Jack the perfect excuse whenever he needs to escape from the country. Algernon, who also has a fictional reason for leaving town to visit the country, in turn becomes enamoured with Jack’s young ward, Cecily Cardew (Nancy Gittus). Prepared to sacrifice their double lives for the love of Gwendolen and Cecily both men stride haphazardly forward to discover the importance of being ‘Earnest’.

Between the two young women a bond of ‘sisterhood’ is quickly reached and equally quickly ripped asunder on their first meeting. Only to be restored on finding themselves both to have been misled by their suitors. The speedy change is achieved with excellent precision and hilarity from Ness and Gittus. Ness is easily recognisable as the daughter of Warner’s Lady Bracknell both in mannerisms and speech. She deftly uses the dialogue to create a believable character of a young woman of society used to getting her own way. Whilst Warner’s approach to the notorious ‘handbag’ line of Lady Bracknell is to expertly underplay it with effective emphasis of shock and outrage at the presumption of Jack expecting her daughter to ‘marry into a cloakroom and forge an alliance with a parcel’.

In juxtaposition to the slightly smug and sarcastic Moncrieff and increasingly vexed and frustrated Worthing, the Rector of the Hertfordshire estate, Dr. Chasuble (Paul Gittus) and Cecily’s tutor, Miss Prism (Liz Paulo), provide a simmering, sublimated sexual tension to great comic effect. They, along with Algernon’s manservant, Lane (Dean Stephenson) and Jack’s butler, Merriman (John Goodman) who both portray with few words and a good many telling facial expressions the knowing yet rather put upon non-leisured-class, provide excellent comedic cameos in counterpoint to their erring employers.

Progress Theatre have produced a wonderful adaptation of the Wilde Classic in a uniquely atmospheric setting.


THE IMPORTANCE OF BEING EARNEST at Reading Abbey Ruins

Reviewed on 19th July 2024

by Thomson Hall

Photography by Aidan Moran

 

 

 

 

 

Previously reviewed at this venue:

HENRY I | ★★★★★ | June 2023

THE IMPORTANCE OF BEING EARNEST

THE IMPORTANCE OF BEING EARNEST

Click here to see our Recommended Shows page

 

🎭 A TOP SHOW IN JULY 2024 🎭

HELLO, DOLLY!

★★★★

London Palladium

HELLO, DOLLY! at the London Palladium

★★★★

“Nothing seems out of place in Dominic Cooke’s staging of this revival”

By interval, while slowly making my way through the bottleneck towards the bar, I’m feeling a bit like the child from ‘The Emperor’s New Clothes’ folk tale. Only the joke is on me, apparently, rather than the other way round. It takes the second act to make me realise this, and my puzzled expression turns to one of realisation, all the while a smile reluctantly spreading across my face. The belated appreciation is inadvertently symptomatic of a musical that is, after all, fundamentally about second chances.

You have to ignore the flimsy plot to get to its heart. On the surface the story follows the celebrated matchmaker, Dolly Levi, as she travels to Yonkers, New York, to find a match for the miserly half-millionaire Horace Vandergelder. It soon becomes clear, though, that Dolly intends to marry Horace herself. We think it’s all about the money, but as the twists unravel, we discover the true threads of the tale. Love is in the air, ultimately, conquering feelings of grief and bereavement as it sweeps through the auditorium in waves of feelgood farce. In the title role, Imelda Staunton gives a fantastically understated performance as she slowly lets go of her late husband’s ghost to find her way back to where she belongs.

Based on Thornton Wilder’s 1930s ‘The Matchmaker’, it premiered in 1963; so there is always the danger that today’s audiences will find it outdated and out of style. Yet it conveys a bygone age that we are willing to be transported back to. Escapism is the key. Rae Smith’s sumptuous sets mix turn of the century realism with animated backdrops; rickety trolleybuses and sandstone buildings with blue skies – into which, at one point, a full-size steam train billows out clouds of steam. Smith’s costumes match the opulence of the production, particularly during the signature scene in which Dolly descends the famous staircase of the Harmonia Gardens restaurant. The title number of ‘Hello Dolly’ builds slowly towards its ovation-grabbing finale. Dancing waiters and chefs epitomise Bill Deamer’s extravagant and flawless choreography. Nothing seems out of place in Dominic Cooke’s staging of this revival, except for a few lines of Michael Stewart’s book. Yet the execution is faultless, and Jerry Herman’s music and lyrics are given full flight, buoyed up by the twenty strong orchestra down in the pit.

Staunton, to her credit, never steals the show in what is pretty much an ensemble piece (that also boasts one of the largest ensembles in London – it has more swings than a holiday camp playground). Andy Nyman’s Horace Vandergelder is a gently mocking Scrooge, extending his derision to himself as much as anyone else. His rebellious employees, Cornelius Hackl and Barnaby Tucker (respectively Harry Hepple and the underused Tyrone Huntley) make a fine comedy double act that borders on cliché but thankfully just stops short. The other star turn comes courtesy of Jenna Russell’s Irene Molloy, the milliner who craves to swap her hat shop for a love nest yet is more than twice shy having been bitten by grief too many times.

The songs are not so much old fashioned as old school. Refreshingly nostalgic and timeless. Russell delivers one of the highlights; ‘Ribbons Down My Back’ with an aching hunger while some of the other rousing numbers fill us with joy. Staunton, of course, makes ‘Hello Dolly’ (the song and the show) her own, betraying a unique sense of self-doubt within her layered character. She likes to be in control of everybody’s lives, including her own, but her femininity is never victim to her feminism. There is strength and vulnerability. But also a glorious sense of fun. “It’s no use arguing – I have made up your mind” Dolly says to the redemptive Vandergelder.

There is no arguing with the success of this show either, or the ovation it received. Admittedly the first act drifts a bit, but by curtain call it is well and truly ‘back where it belongs’.


HELLO, DOLLY! at the London Palladium

Reviewed on 18th July 2024

by Jonathan Evans

Photography by Manuel Harlan

 


 

 

More reviews from Jonathan:

CELEBRATING LIONEL BART | ★★★ | JW3 | July 2024
NEXT TO NORMAL | ★★★★★ | Wyndham’s Theatre | June 2024
THE MARILYN CONSPIRACY | ★★★★ | Park Theatre | June 2024
KISS ME, KATE | ★★★★ | Barbican | June 2024
THREE MEN IN A BOAT | ★★★ | The Mill at Sonning | June 2024
GIFFORDS CIRCUS – AVALON | ★★★★ | Chiswick House & Gardens | June 2024
MARIE CURIE | ★★★ | Charing Cross Theatre | June 2024
CLOSER TO HEAVEN | ★★★★ | The Turbine Theatre | June 2024
THE BLEEDING TREE | ★★★★ | Southwark Playhouse Borough | June 2024
FUN AT THE BEACH ROMP-BOMP-A-LOMP!! | ★★★ | Southwark Playhouse Borough | May 2024

HELLO, DOLLY!

HELLO, DOLLY!

Click here to see our Recommended Shows page