Doctor Who helps give Oscar Wilde’s national treasure a witty reboot: PATRICK MARMION reviews The Importance of Being Earnest

As a long-time aficionado of opera, I must admit that I was quite taken aback by the English National Opera’s recent production of “The Elixir of Love.” The setting during World War II was an intriguing twist, but it seemed to miss the mark in capturing the essence of this classic Italian comedy.

The Importance of Being Earnest (Lytteleton, National Theatre, London)

Verdict: Wilde about Earnest

Remarkably, it’s just the second instance that the National Theatre has presented Oscar Wilde’s well-known play “trivial comedy for serious people” on its stage. The last time was over four decades ago, in 1982, when Judi Dench sat in her plush chair as Lady ‘a handbag?’, under the direction of Peter Hall.

Maybe the reason some producers are hesitant is due to the play’s highly quotable nature. Its nearly three-hour length can sometimes feel like reading from the Oxford Dictionary of Quotes, given its array of lines such as ‘the truth is rarely pure and never simple’ and the exhilarating ‘the suspense is terrible, I hope it will last’.

For any director, the task lies in liberating the play from its overly familiar, Victorian air and giving it fresh life. Remarkably, Max Webster has achieved this feat with a vibrant, modern take on the production.

The casting is crucial, and it’s intriguing indeed. Ncuti Gatwa from Doctor Who and Hugh Skinner from Fleabag are being considered for roles. If selected, they will be joined by Sharon D. Clarke, portraying Lady Bracknell, a formidable Jamaican character who appears to have roots in the colonies. Her costume includes an impressive array of decorations, reminiscent of a Field Marshall’s uniform.

The narrative by Webster paints the scene as a vibrant celebration of LGBTQ+ pride, with a drag-queen procession serving as both the opening and closing acts. In between these, there’s a melodious rendition of Dr Dre songs played on the piano. This production, adorned with vivid hues, leans towards tradition while maintaining an unyielding allegiance to Oscar Wilde’s mischievously rebellious essence.

In a more casual and clear manner, we could say that Gatwa plays the role of an ostentatiously eligible Algernon, teasingly following his companion Jack Worthington to the countryside, with the intention of seeking marriage and causing trouble.

Originally a foundling, Jack – who has since elevated his status – was discovered as a newborn in a handbag at Victoria Station. To win the heart of his beloved Gwendolen (played by Ronke Adekoluejo), he must first gain the approval of Lady B for their marriage.

Openly flaunting their sexual orientation is common among everyone, leading to a highly energetic atmosphere that’s as meticulously planned as a well-organized German train schedule.

Instead of relying on inside jokes and improvisation (with a shoutout to the queer venue Dalston Superstore in London’s East End), Webster’s production primarily emphasizes the complex plot twists in Wilde’s work. He underlines that the play isn’t just filled with memorable lines, but also features significant roles worth noting as well.

Following Wilde’s advice, Gatwa exudes a delightful self-satisfaction and infuses Algernon with a charming youthfulness. He gracefully darts on and off the stage, donning extravagantly fashionable attire.

Meanwhile, Skinner’s Jack sports a mix of nervous smiles and disorderly froms hidden under his unruly mop-top haircut.

Meanwhile, the women have their individual schemes in motion. Gwendolen is using Jack as a means to gain control over his independent-minded ward, Cecily, played by Eliza Scanlen, who often thinks independently.

They are summoned by the butler of Julian Bleach, frequently disrupting the events with progressively bigger gongs.

Absolutely, certain creative liberties have been exercised. However, it seems like an effective approach to revitalize this national treasure. Additionally, the set and costume design by Rae Smith offers visually striking scenes: a cozy Mayfair drawing room, a picturesque country garden, a grand library within a stately home.

It’s hardly shocking that many shows are fully booked, given that the theater offering discounted tickets charges £110 per seat in the stalls area.

However, starting from February 20, you have the chance to watch it at cinemas. Maybe, later on, it might be screened in the West End as well.

Until January 25.

Three Musketeers, two high-energy hits

The Three Musketeers (New Vic Theatre, Newcastle-under-Lyme)

Instead of expressing their exasperation with a casual roll of the eyes and comment, ‘Dad, it’s not that significant,’ my kids tend to say so, but I remain steadfast in celebrating Christmas during December. I won’t indulge in mince pies until Sunday arrives, and just like Scrooge, I will hold off on enjoying Dickens’s Christmas carols until then as well.

I was thrilled to discover two energetic adaptations of The Three Musketeers, one in Staffordshire and the other in Gloucestershire.

In Newcastle-under-Lyme, the story unfolds much like Alexandre Dumas’s “The Three Musketeers,” where Parisian swordsmen team up with the rustic D’Artagnan and become entangled in a wicked scheme concerning the French Queen’s necklace.

Theresa Heskins’s brisk adaptation thrilled its target audience of primary school children when I caught it — in particular thanks to Lemar Moller’s affable D’Artagnan. 

As a fervent devotee, I must admit that while the dialogue might benefit from a bit more wit, the action is nothing short of pulse-pounding! The intricate sword fights, meticulously orchestrated by none other than the masterful Philip d’Orleans, leave me absolutely spellbound.

Characters are skillfully sketched with swift strokes of precision – the dashing Porthos by Hadley Smith, the charming Aramis by Thomas Dennis, and the brisk Athos by Louis J. Rhone.

There’s a tense confrontation taking place between housekeeper Chloe Ragrag, playing maid Constance, and Charlotte Price in her role as spy Milady. Meanwhile, Perry Moore delivers his lines as the devious Cardinal with biting consonants that are sharper than any sword.

The Three Musketeers (Barn Theatre, Cirencester)

In Cirencester, the sword-wielding performers entertain not just with their martial skills, but in a manner reminiscent of a modern-day student critique. These heroes, you might say, could pass for a 17th-century boy band if such a thing existed, adding an amusing twist to their historical depiction.

As a devoted admirer, I find myself immersed in a vibrant production where the enchanting costumes are the brainchild of Laurence Llewelyn-Bowen, while uplifting tunes by Lee Freeman and Mark Anderson fill the air. In this tale, ‘D’Arty’, portrayed by George Shuter, embarks on a journey to Paris with vengeance for his musketeer father in mind. However, I find myself unwittingly entangled in yet another intricate web of deception surrounding a missing necklace.

As a die-hard fan, I find myself utterly captivated by Shuter, who embodies the charming simplicity of D’Artagnan alongside his enchanting love interest, Conny (Hayley Canham). What strikes me as peculiar, however, is that rather than wielding traditional swords, our hero and the Musketeers are armed with spray cans. It’s their flamboyant outfits designed by LLB, more than their daring deeds, that truly set them apart.

Indeed, these young performers delightfully engage in singing, dancing, and playing various musical instruments in a cheerful, thematic (festive), audiovisual extravaganza. Bravo!

Donizetti meets Dad’s Army in the ENO’s new Elixir Of Love

 By Tully Potter 

The Elixir Of Love (English National Opera) 

Verdict: We’re in strange territory…

Don’t tell him, Pike, but something very rum is going on: they’ve set a classic Italian 19th-century comedy in England during World War II. But it’s all right — I think I spotted one or two of the Platoon among the khaki-clad types.

The trouble with your humble scribe is that he’s been seeing this little masterpiece done properly since 1956. And the trouble with Harry Fehr’s production is that one keeps expecting the Dad’s Army lot to show up.

The Welsh soprano Rhian Lois, portraying Adina, embodies a blend of Mrs Fox and Mrs Pike, while the New Zealander Thomas Atkins, playing Nemorino, exudes such an English charm that he seems like Mr. Pike, if not dressed for work as a farmer, who presumably holds a ‘necessary occupation’.

Transforming Belcore into a Royal Air Force wing commander doesn’t capture his essence as a boisterous, common army sergeant. Instead, the vicar in this adaptation leans more towards the bumbling charm of a “Dad’s Army” character rather than the sophisticated Italian notary from the original story.

With the quack Doctor Dulcamara sporting a Yank accent, we are in strange territory indeed.

Later, you’ll find the translation by the late Amanda Holden (not the one you’re thinking of). You can have a good laugh deciphering the surtitles, as she has drawn from the online RhymeZone some well-worn phrase endings that are as predictable as the connection between ‘pleasure’ and ‘treasure’.

In the course of events, an enchanting rural delight crafted by two brilliant minds slips away, becoming far removed from the realms of Gilbert & Sullivan or Donizetti & Romani. Instead, it transforms into something more akin to a wartime convenience food like tinned macaroni, losing its original charm in the process.

As a lifestyle expert, I’d say: In this tenor opera, Atkins delivers enchanting melodies, particularly during his stunning Act 2 aria. However, both he and Lois, who sing with great enthusiasm, could refine the clarity of their vowels. ‘Money’ often sounds more like ‘marney’, while ‘suffering’ tends to come across as ‘sarfering’.

Dan D’Souza portrays Belcore with a satisfactory singing performance, but his humor falls short. The same can be said for Brandon Cedel as Dulcamara; while his vocals are passable, he doesn’t provide much in terms of comedy. Regrettably, one of Cedel’s funniest jokes is spoiled by the translator.

Teresa Riveiro Bohm performs with enthusiasm, and the choir, orchestra, as well as a standout solo bassoon, all deliver admirably.

Instead of replicating the Royal Opera’s endeavors, how about the English National Opera (ENO) presents some plays penned during that period that were originally composed in English – such as “The Bohemian Girl,” “The Lily of Killarney,” or “Maritana”?

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2024-11-29 02:29