The Importance of Being Earnest ****

Having seen ‘The Importance of Being Earnest’ several times in the past, and every time wondering why such a plodding bore was considered such a brilliant comedy, I dragged myself - more out of duty as a regular supporter, than enthusiasm - to see it yet again at the Hayman Theatre.

After many years, the brilliance of this play has at last became obvious. Thanks go to the joint directors, Duncan Sharp and Rebekah Smith, who managed to keep the slightly heavy and ‘aged’ dialogue on the move whilst in the process squeezing every ounce of comedy from the script. There were also plenty of small comedy actions in the background, to add to the humour.

The production was in ‘the round’ which helped draw the audience in, though it does make it more difficult for the actors as they have to project more whilst facing away from a third of the audience at all times.

ALL of the actors were brilliant. Often the mistake is to have the entire cast speaking ‘lah de dah’ with the result that they are all boringly the same. Here the directors and cast created totally separate fun characters, all with their own personalities.

Algernon (Matt Hardie) was the selfish playboy set on conquering Cecily (Mimi Leith). Andy Harmsen – who has come on leaps and bounds - portrays the nervous, but more educated Jack, seduced by the saucy Gwendolen (Tenielle Clarke).

Lady Bracknell (Annalise Mack) – the part that everyone connects with the play - was beautifully portrayed as the domineering aunt, although the make-up allowed her to be a much younger person than usual.

Miss Prism (Amy Welsh) in her first major part was outstanding, as was her admirer the Reverend (Jamie McGleave). Matt Prosper, who played the parts of two different butlers, cleverly created completely different characters, one a stiff upper lip gentleman, the other a bungling old dodderer.

The set by Tegan Mulvany and Tom Stokes was very simple, but practical and was all that was required. Sometimes sumptuous sets can detract from the flow of the dialogue. The use of a shadow screen projected Cecily’s ‘character’ well! And gave interest on scene changes.

Good sound (Megan Williams) and lighting (Alan Chambers) with superb costumes (Fiona Bruce and Sarah Fay).

As this is one of this yearÂ’s school text, the Hayman was full for every show and very much enjoyed by the youngsters, who in my day found the whole thing a drag.

Many congratulations to all concerned.