Review: LADY WINDERMERE'S FAN BY KAHA THEATRE at Gryphon Theatre

Oscar Wilde’s Lady Windermere’s Fan is a four-act comedy of manners, first performed in 1892 at London’s St James’s Theatre. As Wilde’s West End debut, it was an instant success, cementing his reputation as a master of wit and social satire. The play skewers the moral hypocrisy of Victorian society, particularly its rigid expectations of women, and remains one of Wilde’s most enduring and frequently performed works. With its sparkling dialogue and exploration of appearances versus reality, it continues to resonate with modern audiences.

The story follows Lady Windermere, a young aristocrat who suspects her husband of infidelity with the enigmatic and scandal-ridden Mrs. Erlynne. Distraught and disillusioned, she contemplates leaving him for the charming Lord Darlington. Themes of sacrifice, societal judgment, and the complexities of morality are woven throughout the narrative.

This production marks a new direction for Kaha Theatre, presenting their first non-musical play. The staging utilises width over depth, drawing the audience into the action and emphasizing the direct delivery of Wilde’s razor-sharp lines. Keira Ormandy shines in her debut as Lady Windermere, delivering a compelling performance that anchors the production. She is undoubtedly the standout of the evening.

Amelie Tobin brings charm and poise to the role of Lady Agatha Carlisle, opening the play with a well delivered song—her most prominent moment, as her character is largely limited to yes/no responses under the domineering presence of Lena Walsh’s commanding Duchess of Berwick. Victoria Nelson gives a believable performance as Mrs. Erlynne, capturing the character’s emotional depth.

While the male cast members tended to deliver more one-note performances, Brock Oliver as Lord Augustus Lorton stood out for his energy and characterisation. His portrayal, though at times feeling slightly out of sync with the ensemble, brought a welcome liveliness to the stage. The male ensemble seemed most at ease during the third act’s scenes at Lord Darlington’s residence, perhaps reflecting the more relaxed social dynamics of that setting.

The production values were high, with Victoria Nelson’s costumes and props maintaining period authenticity—though the presence of modern accessories like earrings and visible piercings on one male cast member was a distracting anachronism. The set design was effective, though scene changes occasionally felt sluggish and could benefit from smoother transitions. A small detail, but dressing the stage manager in period costume would have enhanced the overall immersion.

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