Review: THE IMPORTANCE OF BEING EARNEST, Starring Olly Alexander & Stephen Fry

No one could accuse Max Webster's flamboyant production of Oscar Wilde's The Importance of Being Earnest of being subtle. A new cast takes the reins from the National Theatre's hugely successful production last year and moves onto the intimate Noël Coward stage, bringing with them the biting wit, vibrant costumes and sexual fluidity that made this show such a hit.

Wilde’s play about two foppish young men and mistaken identities premiered weeks before the court case that led to his imprisonment for homosexuality and Webster's production honours all the homoerotic subtext and then some. Olly Alexander takes over from a brilliant Ncuti Gatwa as Algernon, opening the show at the piano playing the piano in a hot pink dress, opera gloves and dazzling jewellery. The stage is set again for an Earnest that is 'extra' in every way.

Alexander hasn't been on stage for 12 years (in fact, the Noël Coward was where he last appeared), but he is confident and appears completely at ease with the character of the privileged dandy with a smart line for every occasion. 

Sharon D Clarke’s Lady Bracknell commanded the show in its previous incarnation and has been replaced by Stephen Fry, who returns to the stage for the first time since 2012. An exquisitely dressed battle-axe, Fry resists the temptation to ham things up and plays the role pretty straight (one of the only straight things this production), using Wilde's exquisite puns to devastating effect. He delivers each line with crisp relish and stately poise.

Nathan Stewart-Jarrett is a comic joy as Jack/Ernest; skittish and prone to frequent indignantly camp verbal outbursts. Hugh Dennis as is nicely clueless as Dr Chasuble and Shobna Gulati shows desperate yearning as Cecily’s governess Miss Prism.

Newcomer Kitty Hawthorne’s imperious Gwendolen and Jessica Whitehurst as Jack’s joyful ward Cecily are more than a match for the boys in eccentric behaviour and also show hilarious elements of both sexual knowingness and mutual attraction. The moment when Cecily serves tea to Gwendolen becomes a masterclass in both passive aggression and sexual tension.

Among this great cast, it is the wonderful Hayley Carmichael who threatens to steal the show in the two minor roles of servants Lane and Merriman. Her physical comedy is pitch perfect and mean that even her entrances and exits get a laugh.

The pop references have varied a little, but still land well, particularly when Algy receives a telegram from the Vauxhall Tavern and we hear snippets of James Blunt, Bruno Mars and Cindi Lauper. But Webster maintains the balance and cleverly maintains the essence of Wilde simultaneously. 

The only small reservation about Webster's take is that if Algy and Jack are so obviously gay, why are they suddenly so set on Gwendolen and Cecily? One can only conclude all four characters can see the acceptance and validity these relationships will give them within Victorian society, whilst being able to continue behaving as they choose. If so, it's a clever reflection of Wilde's own marriage to Constance Lloyd, which didn't end so happily.

Webster's direction remains fast and furious, using every part of Rae Smith’s handsome set, with its over-bright country garden and ornately decorated living rooms. The costumes are, again, a highlight, with Algy's pink socks and Lady Bracknell's commanding hats. There is also a lovely nod to Miss Prism's heritage through a subtly patterned grey dress and shawl that doubles as a dupatta.

A vivid, warm and fantastically entertaining show, this is one to book for the darker nights to come.

The Importance of Being Earnest is at the Noël Coward Theatre until 10 January 2026

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