The News Herald (Willoughby, OH)
Willoughby production of writer’s beloved work provides the sophisticated laughs we need THEATER REVIEW Fine Arts’ ‘Importance of Being Earnest’ is Wilde fun
The Fine Arts Association’s tea-and-crumpet game is a solid 10.
The theater’s rendition of Oscar’s Wilde’s most-abiding play, “The Importance of Being Earnest,” transports audiences to a simpler time that “Wilde-ly” entertains. (Get it? Oscar Wilde … Is this thing on?)
It’s rather endearing to think about Wilde writing a play poking such sizeable fun at his own time period. After all, the idea behind the show is that it’s a “trivial comedy for serious people,” those people being the British men and women of 1895.
It’s impossible to resist the charm of this steadfast rom-com, but it’s also hard to ignore the palpable juxtaposition of today’s dating scene to that of 1895’s dating rituals.
Can you imagine a world in which a butler delivers you a handwritten message from your admirer on a silver plate rather than receiving a lackluster text message riddled with typos? I can’t either.
This story centers on two men with vastly different views on marriage and methods of capturing a woman’s heart.
Casting local comedy for all the British buffoonery probably was a no-brainer for FAA. They called in a natural comedy duo, Seth Clerget and Matthew Mortensen, for the job.
Clerget stole the show as the haughty Gaston in FAA’s “Beauty and the Beast” back in 2016. He brings the same tenacity here, but this time with a more understated hue of comedy.
Mortensen’s comedy never fails. Even his entrance into a scene induces laughs thanks to his physical comedy. Never afraid to go the extra mile, this is the same actor who stripped down to his underwear when he played Spike in Rabbit Run Theater’s “Vanya and Sonia and Masha and Spike” a couple years back.
Both of their characters, Jack Worthing (Clerget) and Algernon Moncrieff (Mortensen), lead double lives, all to impress the ladies. Unsurprisingly, it lands them both in a great deal of trouble. Because of the visible chemistry between the actors, it’s easy to watch these bickering boys all day as they battle it out over even trivial matters such as overeating muffins.
Having to deal with these shenanigans are the clever beauties the boys are pining after, Cecily Cardew (Kiara Kennely) and Gwendolen Fairfax (Carolyn Pelley Clerget, wife of Seth). Kennely absolutely nails the kooky spirit of Cecily. Her airy-fairy essence is a bright, fresh presence on the stage. Clerget’s poised body language and arrogant side-eyes are strong enough for a Broadway stage. Together, they’re great.
A special mention is reserved for Mark Cipra, who portrays the unwavering Lady Bracknell. Cipra’s gruff voice gives depth to his domineering female character. His comedic lines are always time, and each one is delivered sassier than the one before.
It’s difficult to tire of the rollicking he-said-she-said of it all as inevitable mixups and hijinks occur left and right.
And it’s all easy to buy, too, thanks to the convincing wardrobe by costume designer Hannah Sandham. Her extra effort goes a long way in this production. It can become complicated putting together outfits from this time period. But thanks to Sandham, it’s never cheesy and always elegant.
The set is decked out in its finest, too. Scenic designer David Malinowski keeps it classic and simple. The set’s perfection helps guide to audience into each scene. It’s easier to get lost in a show when you don’t have to ignore glaring eyesores on set.
It may take a minute to get used to the slow warmup of a story this old, but it’s worth waiting for.
This show is the perfect way to spring into spring and finally leave cabin fever behind. Comedy itself is always good medicine. In Wilde’s own words “Life is too important to be taken seriously.”