Skip to main content

The Importance of Being Earnest

Pitlochry Festival Theatre
Four stars

There's always been a knowingly subversive heart beyond the seemingly throwaway one-liners of Oscar Wilde's most celebrated dissection of polite society. There are hints of this during the opening of Richard Baron's revival when Gavin Swift's work-shy fop Algernon comes to at the piano following an all-night bender. With tunes blaring from the Victrola and complete strangers puffing on something dubious in the living room, just when you think Viz comic's Raffles The Gentleman Thug might gatecrash, in steps Reece Richardson's lovesick Jack Worthing.

The boys duly indulge in some bantz before Jack makes goo-goo eyes at Emma Odell's deceptively coy Gwendolen on the blind side of Margaret Preece's Lady Bracknell, a buttoned-up gold-digger who used to be a bit of a one. What follows as Algie and Jack embark on an elaborate game of kiss-chase with Gwendolen and Jack's country-dwelling ward Cecily seems to signify an entire class in search of some kind of identity beyond the numerous facades they flit between.

If keeping up appearances is everything here, the prospect of sex broods beneath each layer in a way that set a template for Made in Chelsea. There's an archness to proceedings as Swift and co play interior monologues direct to the audience in a set of winning turns that capture Wilde's recognition of his characters' sheer ridiculousness. In this way, the play winds up its world's occupants with a gleeful abandon that cuts through its respectable veneer without them even realising it. If Wilde is guilty of anything, it's of investing them with more intelligence than they deserve in this timelessly ribald exploration of the unbearable lightness of being.
 
The Herald, July 24th 2015


ends

Comments

Popular posts from this blog

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…

Suzy Glass – Message from the Skies

Freedom of movement matters to Suzy Glass, the arts and events producer currently overseeing the second edition of Message from the Skies.This animated literary derive around the city forms part of this year’s Edinburgh’s Hogmanay programme, and runs right through till Burns’ Night. Glass’ concerns are inherent in the event itself, which has commissioned six writers from different disciplines and experiences to each pen a love letter to Europe. Each writer has then paired up with a composer and visual artist or film-maker, with the results of each collaboration projected in monumental fashion on the walls of one of half a dozen of the capital’s most iconic buildings.
With venues stretching from the south side of Edinburgh to Leith, and with one city centre stop requiring a walk up Calton Hill, there is considerable legwork required to complete the circuit. It shouldn’t be considered a race, however, and audiences are free to move between venues at their leisure, visiting each site on d…