Theater Review
In Oscar Wilde’s “The Importance of Being Earnest,” language is the most powerful’and popular’character. Sharp and sophisticated witticisms connect and drive the egocentric characters who love to hear themselves speak. ”Yet, while language is the glue, it requires a strong supporting cast. Director Peter Hall writes this about Wilde’s theatre: “Beneath the wit there is always an intense emotional reality. And if the actor doesn’t create that reality every night, then the plays may look facetious, even pointless: as if the actor has only one function’to stand on the stage and utter witticism after witticism and obscure what the play is really about.” ”In Hall’s Theatre Royal Bath production of “The Importance of Being Earnest,” which opened Wednesday at the Ahmanson Theatre, some of that underlying emotion was missing. The talent was there’Lynn Redgrave, British character actress Miriam Margolyes and Terence Rigby’but it was difficult to get a sense of some of the other characters. ”When we initially meet Jack Worthing (aka “Ernest”), he’s uptight and colorless. It’s hard to believe that this is the character who has invented an imaginary brother so that he can escape country life for the pleasures of the city. ”In this role, James Waterston is unfortunately more of a dull Jack than a confident, charming Ernest. Waterson is better as Jack in the country’in the second act when he’s able to loosen up a bit. ”Even the brotherhood between Jack and the silly, emotionally extravagant Algernon Moncrieff (Robert Petkoff) is unconvincing. The scene in which Algernon provokes Jack to divulge the mystery behind the inscription on his cigarette case does not achieve the genuine playful quality that would help define their friendship and competitive camaraderie. ”However, Petkoff crafts an exuberant Algy, scheming but likable from the beginning because he is boyishly confident and charmingly na’ve. ”One of his best scenes comes in the second act when Algy has beaten Jack to the country, assumed the identity of Ernest, and fallen quickly in love with Jack’s ward, the pretty young Cecily (Charlotte Parry). First in the center of the garden and then on their knees, the two act out the imaginary history of their love affair once Algy learns she has invented and meticulously documented the entire courtship in her diary. ”As Cecily, Parry captures the creative and invigorating determination of her youthful character, who must create her own secrets in an attempt to satisfy her romantic expectations. “What an impetuous boy he is!” she says of Algy. “I like his hair so much. I must enter his proposal in my diary.” ”The interactions between Cecily and Gwendolyn Fairfax, the object of Jack’s affection, are flat and over rehearsed. As Gwendolyn, Bianca Amato is a little hard to warm up to, though when she shares her impression of Cecily with the audience (“Detestable girl! But I require tea!”), we understand that she already sounds like her mother, Lady Bracknell (Lynn Redgrave). ”The audience was closely watching Redgrave’s portrayal of the oppressive grand dame whom she has said she always felt an urge to play. As an upper-class Victorian mother obsessed with her daughter’s material worth and potential future inheritance, Redgrave delivers her character’s ridiculous societal beliefs and expectations with great energy. ”Her performance is in high gear in the inquisition scene with Jack when she ultimately advises him “to try and acquire some relations as soon as possible, and to make a definite effort to produce at any rate one parent, of either sex, before the season is quite over.” But when she becomes defensive and storms out of Algernon’s flat, her hand gestures and behavior seem a bit overdone. ”Not to be forgotten are Miss Prism (Miriam Margolyes) and Reverend Canon Chasuble (Terence Rigby), who are humorously oblivious to others in pursuing their own love affair. As Cecily’s seemingly strict but easily manipulated tutor, Margolyes captures the scholarly look, mannerisms and quirky personality of Miss Prism, who is a woman of many faces. She performs with great ease and naturally draws a lot of laughter. ”The same goes for Rigby, who is the awkward but proud and gentlemanly Chasuble, from the moment he emerges from the garden path. He and Margolyes create a perfect chemistry with their characters. ”The pastel-toned garden room set is luscious, with flowers practically lighting the room and speaking to the vibrancy of country life. It’s nice to see the women dressed in pale yellow and lavender to complement this decorative setting. Lady Bracknell’s lavish costumes certainly match her egocentrism. (Production design by Kevin Rigdon and Trish Rigdon.) ”However, though some of the actors may look and sound the part, they don’t seem human underneath it all, especially in the first act. Fortunately, they warm up as the show progresses. ”The opening-night audience seemed to laugh no matter what, even before some the delivery of some of the lines had been . Theirs was the most emotional response of the evening. ”The show runs through March 5 at the Ahmanson Theatre, 135 Grand Ave. Performances are 8 p.m. Tuesday through Friday, 2 and 8 p.m. Saturdays and 2 and 7:30 p.m. Sundays. Contact: (213) 628-2772.
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