Tag Archives: Aidan Moran

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

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Jerusalem

Jerusalem
★★★★★

Progress Theatre Reading

Jerusalem

Jerusalem

Progress Theatre

Reviewed – 8th February 2019

★★★★★

 

“Progress Theatre rose to the challenge and have brought us a formidable production”

 

Hidden amongst the houses of Reading is the self-funding theatre group, Progress Theatre. This small theatre is the oldest in Reading and their ambition in taking on Jerusalem is admirable. Directed here by John Goodman, Jez Butterworth’s play is a marathon at three hours long, with two intervals and a lot of swearing.

In walks Matt Tully as Johnny ‘Rooster’ Byron and from the outset it is clear that the role is in safe hands. Shaking and hungover he downs his breakfast of vodka and milk. He is soon joined by a motley collective of the youth of Flintlock Village. It is St. George’s Day and the day of the Village Fair. As the morning progresses, the story of last night’s partying starts to come back to them all. Rooster has now been barred from every pub in the village and has destroyed his television set. It is apparent that Rooster’s caravan in the woods is a convenient meeting place for the youngsters. They are given drugs and alcohol and an escape from their parents. Rooster refers to them as his rats, but it is clear that he needs to surround himself with youth to remain young. They hang on his words, with the possible exception of Ginger (Joseph Morbey), who is happy to tell Rooster that his stories are “bollocks”. Morbey’s endearing take on Ginger proficiently leads us to understand the neediness of the character. He is the butt of the group’s jokes, but as it turns out, probably the only true friend that Rooster has. Although they appear to idolise Rooster, there is an undercurrent of mockery and a sense that they are using him for their convenience.

Laurence Maguire as Lee and Rex Rayner as Davey stand out as the guffawing village boys. Lee is planning an exodus to Australia, with its sun and surf, while Davey cannot leave Wiltshire without his ears popping. You get the feeling that although Lee wants to leave, he really won’t be able to. Alison Hill as the sweet and doddery Professor is charming and comedic. John Turner as Wesley, pub landlord, speed addict and Morris Dancer is also a stand out.

Tony Travis’ set design is truly remarkable. The stage’s centrepiece is Rooster’s caravan, Waterloo surrounded by the detritus of endless parties. I am in awe of the trickery involved in getting a whole caravan through the doors.

Jerusalem is a reflection of England’s green and pleasant land and also a sorrow of the takeover of housing estates and petty officialdom. We can empathise with those living with Rooster squatting on their doorstep, but it is hard not to root for him as we see him unravel with the realisation that his life as he knows it is coming to an end. Tully’s rambling monologues take us masterfully through Rooster’s nonchalance to authority and finally to self-destruction, when it becomes clear he does not know what to do. His tall tales of Nigerians and giants symbolises that something beyond his control is coming to take what he holds dear, away from him.

Jez Butterworth has taken ordinary characters that are recognisable from our own life stories and made them extraordinary. Progress Theatre rose to the challenge and have brought us a formidable production. I’ve already booked to see it again.

Reviewed by Emma Gradwell

Photography by Aidan Moran

 


Jerusalem

Progress Theatre until 16th February

 

Previous shows covered by this reviewer:
Robin Hood | ★★★★ | Watermill Theatre Newbury | December 2018
Rocky Horror Show | ★★★★ | Theatre Royal Brighton | December 2018

 

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