The Importance Of Being Ernest

Westholme’s production of “The Importance of Being Ernest,” directed by Miss Cath Roberts and assisted by Miss R Loudonsack, was a confident and imaginative reworking of Oscar Wilde’s beloved comedy. With a modern twist that felt both tasteful and natural, the production preserved Wilde’s razor-sharp wit while gently nudging the setting into today’s world.

Mobile phones and tablets were cleverly integrated: Gwendolyn used her phone as a diary, her screensaver a picture of Ernest, quiet but telling detail that spoke volumes about her romantic obsession. Cecily was constantly on her phone, posting selfies and even dancing for a TikTok video in her garden bedroom. Lady Bracknell consulted her iPad with formidable precision. These modern elements never felt forced or gimmicky; instead, they added texture and relevance, reflecting how today’s world might absorb Wilde’s themes of identity, appearance, and social performance.

The audience were seated at round tables under soft lighting, creating a refined and intimate setting. Pale muslin curtains stretched across the rear of the stage, beautifully lit by Peter Ward-Thompson. Lady Bracknell’s entrance, her silhouette growing in stature as she crossed the stage, was a visual highlight, commanding attention before she even spoke. Set wise, Algernon’s flat was dressed in post-party chaos, and Jack’s estate grounds featured a blossom tree, lounging areas, and outdoor furniture. The cast moved through the audience, weaving between tables as if strolling the grounds. These choices made the production feel immersive and alive.

Sound design by Mr M Bradford was crisp and reliable, with no dropouts or feedback. Effects were prompt and well-timed, allowing the cast to react naturally and keep the dialogue flowing. The leaf blower scenes were particularly funny and well executed. Backstage, Alfie Duncan ensured props were always in place, supporting the show’s smooth transitions. Costumes by Mrs J Ward-Thompson blended modern tailoring with period elegance, reinforcing the production’s unique visual identity.

The cast were well-rehearsed and confident, delivering Wilde’s famously lengthy speeches with clarity and ease. When I attended, Zac Whitbourn took on the role of Jack Worthing (Ernest) with charm and conviction. His performance was confident and well-paced, capturing Jack’s blend of romantic idealism and exasperation with ease. His scenes opposite Algernon were competitive and witty, and his flirtation with Gwendolyn was expressive and well-paced. His composure during the food fight scene was particularly impressive, anchoring the chaos with dry humour.

Isla Naisbitt was hilariously bold as Algernon Moncrieff, flirting shamelessly with audience members while never breaking character. Her focused eye contact and theatrical lunges created moments that were intimately funny. Despite the improvisational feel of her interactions, she stayed firmly within Algernon’s world, using the audience as part of the estate’s social playground. Her accent and command of Wilde’s dialogue were flawless, making her performance both cheeky and precise.

Ella Naisbitt’s Gwendolyn Fairfax was outrageously funny, animated, and expressive with a pitch-perfect upper-crust accent. Though she looked the part of the stiff Victorian lady, her passion for Ernest was anything but restrained. Her scenes with Cecily were sharply played, civil on the surface, but bristling with comic tension. Olivia Ko brought gregarious energy and charm to Cecily Cardew, constantly on her phone and delightfully self-absorbed. Her quick wit and expressive delivery made her scenes sparkle, especially her verbal sparring with Gwendolyn.

Jonathan Barker played both Lane and Merriman with quiet precision and dry humour. His presence in both households disguised by costume and accent, and his understated comic timing added texture throughout. Penny O’Leary portrayed Miss Prism with warmth and subtle longing. Her scenes with Dr Chasuble carried quiet romantic tension, and her delivery of Wilde’s dialogue was clear and expressive. Seren Walker brought a serene, gently humorous presence to Dr Chasuble. His calm demeanour and quiet devotion to Miss Prism provided a lovely contrast to the surrounding chaos.

Westholme’s “The Importance of Being Earnest” was a production that understood its source material deeply and treated it with both reverence and imagination. From the staging and atmospheric lighting to the confident, characterful performances across the cast, every element worked in harmony to create a theatrical experience that felt fresh yet faithful. The modern touches, phones, selfies, TikTok dances, were never gimmicks, but thoughtful extensions of character. The cast, under the assured direction of Miss Roberts and Miss Loudonsack, delivered Wilde’s wit with clarity, humour, and heart. It was a production that invited laughter, admiration, and reflection—and left its audience thoroughly entertained. Bravo to all involved.

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