Review: THE IMPORTANCE OF BEING EARNEST at Contemporary Theater Company

Oscar Wilde’s “The Importance of Being Earnest” premiered on a London stage in 1895 and has since then become the wickedly witty master playwright’s most often produced play (I already know of two forthcoming productions in Massachusetts alone). Given its popularity and familiarity, a creative team might be hard pressed to exhibit a fresh, original reinvention of the classic, but fear not, because Contemporary Theater Company’s bold, brilliant production is one-of-a-kind, authentically absurd, and mindful of Wilde’s sophisticated, playful prose.

For starters, the stage is decorated with inflatable furniture pieces, resembling rafts you would see floating in a pool, that pose an especially amusing challenge when the characters try to sit on or stand up from them. Here the audience is introduced to the gentlemanly Algernon (Frankie Davison), whose flamboyance is made apparent by his lip synced presentation of Kim Wilde’s ‘Kids in America’ (but with a twist).

Algernon is visited by his frenemy, the equally animated Jack (Kerstyn Leigh). The devious duo are wealthy bachelors with wild, albeit clever imaginations; Algernon uses the poor health of his imaginary friend, Bunbury, as an excuse to decline undesirable social engagements, and Jack pretends he has a brother, Ernest, and assumes his identity whenever convenient.

Jack wants to marry Algernon’s cousin, Gwendolen (Kelsi Canada)—who knows Jack only as Ernest—but before he can propose, he must first win the approval of her mother, the imposing Lady Bracknell (Paula Glen), who considers Ernest’s orphan status a major faux pas and forbids their engagement. Algernon travels to Jack’s country estate where he meets Cecily (Christina Smith), introduces himself as Ernest, and Cupid’s arrow strikes. Jack arrives soon thereafter to announce that his brother, Ernest, has died—unaware that Algernon is now posing as him.

Not surprisingly, calamity and hilarity ensue, courtesy of Wilde’s trademark humor, director Aaron Blanck’s remarkably clever, unconventional staging, and superlative performances from the entire cast. The playwright customarily pokes fun at social prowess, but Blanck and his crew take it to a new level, featuring modern music (Garbage and No Doubt), an electronic diary, a fanny pack, intricate hand exchanges, an actual pillow fight, and dazzling costumes that beautifully and effectively accentuate the characters’ colorful attitudes and mannerisms.

Davison seamlessly embodies immeasurable charm and style as Algernon, and Leigh’s Jack is equally charismatic and snazzy. This foppish pair have unmistakable chemistry, and their mastery of Wilde’s sharp dialogue is flawless. Canada is an absolute delight as the adorably enamored Gwendolen, and Smith’s portrayal of the uninhibited Cecily is a perfect combination of mischief and tenacity.

Olivia Humulock, as servants Merriman and Lane, demonstrates evident physical comedy expertise and brings down the house without having to say much at all. As Miss Prism, Cecily’s tutor, and Dr. Chasuble, Ken Ko and Kelsey Perkins are an admirably enlightened pair, rife with levity and sincerity. Glen is simply magnificent and steals the show with her dutiful, deadpan delivery of Lady Bracknell’s legendary quips, along with with her bewitching stage presence and Miranda Priestly-esque manner and fashion sense.

Underneath all the vanity and frivolity, Wilde has an important message about human behavior and being true to yourself, so don’t miss this wildly entertaining, extremely funny, extraordinarily well-acted production of “The Importance of Being Earnest” at Contemporary Theater Company.

“The Importance of Being Earnest” runs through September 12 at Contemporary Theater Company, 327 Main Street in Wakefield, RI. For tickets and information, call 401-218-0282 or visit contemporarytheatercompany.com.

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