From the very first moments of The Importance of Being Earnest, you know that you are in for a wild (Wilde) and hilarious ride. The play opens with a stunningly imaginative dream sequence – an almost fantastical peek into the lead character Algernon’s psyche. While I won’t spoil the details, it sets the tone brilliantly for the vibrant, witty, bonkers chaos to come.
There are few pleasures in life as pure as a truly excellent production of a farce, and The Importance of Being Earnest at the National Theatre is just that – a funny, camp, and dazzling romp brought to vivid life on the Lyttelton stage. As someone unfamiliar with Wilde’s work beyond hearing whispers of babies and handbags, I was intrigued but unprepared for the sheer joy this production would bring.
Ncuti Gatwa as Algernon is an absolute delight. Mischievous, camp, and gloriously cheeky, Gatwa’s Algy is an unapologetic scene-stealer, delivering Wilde’s barbs with razor-sharp precision. His delivery of “Truth is rarely pure and never simple” landed with perfect comedic timing and felt as relevant today as it must have been when Wilde penned it. Hugh Skinner’s Jack Worthing balances Gatwa’s energy beautifully – all nervous charm and awkward sincerity. Their chemistry crackles, especially in the early scenes where Algy teases Jack relentlessly, setting the stage for the play’s delightful twists and turns.
Ronke Adékoluejo’s Gwendolyn Fairfax is a revelation. Her performance injects the character with a modern, confident sensuality that feels both refreshing and entirely fitting. She flirts, teases, and occasionally shocks, bringing a wonderfully contemporary edge to her scenes with Jack. Meanwhile, Eliza Scanlen’s Cecily Cardew radiates innocence and whimsy, though she is not without a mischievous streak of her own. Scanlen shines from the moment we first encounter Cecily, as she tends to her garden while softly singing Girls Just Want to Have Fun, perfectly capturing her youthful exuberance.
One of the production’s standout moments comes when Cecily and Gwendolyn, believing themselves rivals, engage in a hilariously passive-aggressive tea scene. Their attempt to maintain decorum while hurling subtle jabs at each other is nothing short of comedy gold. Watching the pair transform from enemies to best friends within moments is both ridiculous and joyous – it’s moments like these that make me realise why Wilde has such devoted fans.
Sharon D. Clarke as Lady Bracknell is everything you could hope for and more. Her commanding presence and Caribbean matriarchal flair bring a new dimension to this iconic role. The moment she delivers the iconic ‘A handbag?!’ with stunned shock and a hint of disgust is nothing short of perfection.
Ray Smith’s set design is a gorgeous triumph, and the outdoor setting for the countryside house was my personal favourite. Vibrant, lush, and brimming with life, it perfectly complements the energy of the performances. The costumes, too, are a feast for the eyes, with Algernon’s opening suit – a floral masterpiece – standing out as a particular highlight. Everything about this production feels vibrant and alive, from the sets and costumes to the sheer energetic joy radiating from the cast.
Special mention must go to Julian Bleach, who doubles as the impeccable, stiff-lipped butler Lane and the delightfully decrepit Merriman. His comedic timing is flawless, bringing unexpected layers of humour to his brief but memorable appearances. Amanda Lawrence as Miss Prism and Richard Kent as Canon Chasuble (or the Doctor – the script is deliberately playful with his title) add further comedic depth, particularly in their flirtatious moments.
The production isn’t afraid to wink at its audience – sometimes literally – breaking the fourth wall with hilariously meta moments. Whether it’s characters shouting “Curtain!” in unison or slyly acknowledging the absurdity of the plot, these asides only add to the fun.
If I had one critique, it’s that Algernon’s romantic connection with Cecily didn’t feel entirely convincing. Perhaps it’s Gatwa’s camp energy or my familiarity with his previous roles, but I found myself doubting Algy’s sincerity – a minor quibble in an otherwise stellar performance and something that certainly did not subtract at all from my enjoyment.
The Importance of Being Earnest is a wonderful, gloriously funny production that breathes fresh life into Wilde’s timeless farce. The cast is exceptional, the design is stunning, and Wilde’s wit shines through in every line. If, like me, you haven’t yet experienced the genius of Wilde, this production is the perfect place to start. Whether a newcomer or a Wilde devotee, you will absolutely love it and will leave the theatre grinning from ear to ear. Book now to catch this limited run, playing until 25th January 2025.
Book tickets at www.nationaltheatre.org.uk
Words by Nick Barr
Photos by Marc Brenner
