By SHARON EBERSON
Undoubtedly, there are some who will arrive at Pittsburgh Public Theater’s latest iteration of The Importance of Being Earnest with favorite interpretations. After all, Oscar Wilde’s classic comedy about love among the upper crust has been inducing good cheer for 130 years.
Fond memories might even include two Public productions, in 2006 and 1978, while the spring of 2024 brings a welcome addition to any Earnest list: namely, the delightful adaptation now at the O’Reilly Theater.
in The Importance of Being Earnest at Pittsburgh Public Theater.
(Image: Michael Henninger)
Director Jenny Koons’ airtight script of one of the best-known comedies in the English language is a breezy breath of fresh air, even if you know every silly, satirical line.
Wilde’s wicked wit, with his disdain for societal snobbery, shines brightly, while the production also upholds the many charms that justify the play’s lasting popularity.
As a forerunner of today’s popular sitcoms, Earnest has great importance.
Can’t you just imagine an episode of Seinfeld built around two friends who separately take on a name (in this case, Ernest) to win the affections of women who are drawn to the name, and might otherwise dump the men they supposedly love?
The potential for a laugh riot is all there, laid out by Wilde back in 1895.
Koons’ adaptation gives weight to what moneyed Victorian Brits considered to be unbendable rules of etiquette, unleashing them at their most absurd when it comes to love. To demonstrate, we hear excerpts taken from do’s and don’ts books of the day, regarding important events such as courtships. (In a wink-wink aside, we also learn when “yinz” is preferable.)
What comes to mind most in the production is the Wilde line, “In matters of grave importance, style, not sincerity, is the vital thing.” It is uttered by the deliciously flirty and entitled Gwendolen (Veronica del Cerro) when she discovers her beloved’s deceptions.
Gwendolen’s imperiously protective and proper mother, Lady Augusta Bracknell, is played to the hilt for the Public by David Ryan Smith (One Man, Two Guvnors; Passing Strange on Broadway). The role has a long tradition of being played by both women and men, and here, Smith does the vaunted character great justice by acting the part, and not the gender.
Paul “Paulie” Deo Jr. and Pittsburgh-based actor Dylan Marquis Meyers portray the two Ernests – Jack Worthing and Algernon Moncreiff, respectively. Jack is more steadfast in character, as guardian to Cecily (a hilariously dim Alex Manalo) and despite his lie – for after all, what is in a name? Meyers makes for a dandy mischief-maker as Algernon, cousin to Gwendolen, the love of Jack’s life.
Gwendelon has fallen for Jack while believing his name to be Ernest, the nonexistent brother who allows Jack to be a different man in the city than he is in the country. In disguise as the same “Ernest Worthing,” Algernon comes to his friend’s country home and instantly falls for Cecily.
Among other things, Jack not knowing his true parentage is a deal-breaker for Lady Bracknell, even though she reveals herself to come from lowly roots.
The other potential couple is Cecily’s teacher/companion, Miss Prism (Susan M. Lynskey) and Rev. Chasuble, among three roles inhabited by the invaluable Joseph McGranaghan. He also plays the servants Lane and Merriman in both the Moncrieff and Worthing households.
The wily Wilde, ever pointing out the absurdities of class by way of paradox, has Algernon say of Lane, ”Really, if the lower orders don’t set us a good example, what on earth is the use of them? They seem, as a class, to have absolutely no sense of moral responsibility.”
Morality, quite obviously, is not an Algernon strong point.
All are to become inexorably entwined, a life-changing secret will be revealed, and many laugh-out-loud moments are ensured.
The actors are outfitted in period flair by costume designer Hugh Hanson to strut town-and-country sets by Emmy-winner Jason Ardizzone-West (Jesus Christ Superstar Live on NBC). Lighting design by Annmarie Duggan helps to separate the rules of etiquette readings from the play at hand.
Oscar Wilde subtitled his play “A Trivial Comedy for Serious People,” although anyone, serious or otherwise, could argue that most trivial is the credence given to rules as they apply to love. It’s importance, however, is undeniable:
For those in need of a respite from whatever is ailing them, The Importance of Being Earnest unfolds like a spring day, filled with color and charm, and sprinkled with laughter.
TICKETS AND DETAILS
Pittsburgh Public Theater’sThe Importance of Being Earnest, a co-production with Baltimore Center Stage, is at the O’Reilly Theater, Downtown, through April 14, 2024. Tickets: visit https://ppt.org/production/87739/the-importance-of-being-earnest of call 412-316-1600.
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