The Importance of Being Earnest

The Roundabout Theatre Company may have an occasional flop (at least one per season, by recent calculations), but their current production of Oscar Wilde's The Importance of Being Earnest is certainly not in that category.  Esteemed stage actor, Brian Bedford, directs a superb cast at the same time starring in this 3 act romp.  Earnest is one of Wilde's timeless works and this production dishes up barrels of laughs and glamorous sets - a thoroughly entertaining evening in the theatre all around.

One cannot even say that Bedford, playing the role of Lady Bracknell in drag, stole the show.  The entire cast around him never missed a beat and elevated the pedestal upon which Lady Bracknell could perch.  David Furr (John Worthing) and Santino Fontana (Algernon Moncrieff)  - Wilde's two Earnests  - have impeccable comedic timing, dashing good looks, and abundance of energy.  Charlotte Parry (Cecily) and Sara Topham (Gwendolyn) are smartly coquettish and irresistibly innocent as the ladies who fall for their Earnests.  Supporting these two fine couples are the delightful Dana Ivey (Miss Prism) and the charming Paxton Whitehead (Reverend Chasuble). 

Wilde's writing is a good as it gets - and the tale told is one that is timeless.  Comparisons to the 2002 movie are likely to be made by some - but the stage version is still tops in my book.   This comedy of manners is a timeless tale that is is looking to have a long run into the summer at the American Airlines Theater. Get your tickets today.  You might want to use your real name or you might not be able to pick them up.

Absurd Person Singular

Mildly amusing, but overall I'm still baffled. Act One seems to be the "set-up" to something that would tie the next two acts together... But it just never quite materialized. Three Couples, Three Christmas Eves, Three Kitchens... But what was the "catch"? As the theater emptied slightly for the intermission for the First Act, I overhead a lady behind me asking "I hope this is going somewhere". I concurred. Unfortunately, it didn't and we were stuck in our seats to endure two more acts.

Paxton Whitehead had impeccable timing - he's a comedic gem! Clea Lewis was perky and funny - and also had a vocal affectation similar to The Nanny (Fran Dresher) or Jaaaaaanice (from "Friends") , but used it sparingly (so as not to annoy you as much as the aforementioned characters do). Deborah Rush barreled on and off the stage as the over-the-top, larger-than-life, glam-wife. Michele Enos has mastered the consummate drunk (two times in a row now - she just played the consummate young drunk wife in "Who's Afraid of Virginia Wolf"). Everyone else was just... well... there.

What was missing? A cohesive plot. All I saw was three mildly funny vignettes with a bit of physical commedy and a few laughs with nothing but the same people that tied them all together. There was no "real story". No "catch". No "gotcha". No "Ah-Ha!"

After the third one - i started to think... Run... Don't Walk... (home, that is)!