The Importance of Being Earnest - National Theatre At Home - Review

My ideal has always been to love some one of the name of Ernest.

High society, eligible bachelors, different identities for the town and the country, all wrapped up in flowers, flamboyancy and fun. Oscar Wilde's The Importance of Being Ernest came powering on all cylinders to the National Theatre in 2024, with more flair, more fashion and more love is love than ever before, and after a second run at the Noel Coward Theatre more recently, this production now lands right in our hands, streaming on National Theatre at Home. So pull up a chair, get comfortable, and enjoy this comedic gem.

Algernon (Doctor Who star Ncuti Gatwa) is wealthy, fashionable, and eligible, but more interested in cucumber sandwiches and parties than marriage and anything that is expected of him. Ernest (Hugh Skinner), on the other hand, has marriage on the brain as he dreams of marrying Gwendolyn (Ronke Adékoluejo), Algernon's cousin and daughter of the strict and domineering Lady Bracknell (Sharon D Clarke). But things get complicated when Ernest reveals that he's really called Jack, and Ernest is just his made up brother to allow him to visit town whenever he pleases. Cue the 'bunburying', as Algernon calls it, the making up of fake acquaintances to escape the society ideas and do whatever he wants. Fake identities and lies lead to both confusion and romance as Jack's young ward Cecily (Eliza Scanlen) becomes fascinated with Earnest and Jack sets out to find out the truth of his origins, armed only with the story of being found in a handbag as an infant.

The piece's creator, the great Oscar Wilde, was arrested  or ‘Gross indecency for Homosexual acts’ in 1895, and now I would like to think that he would look upon this production of his classic comedy, directed by Max Webster, with joy and pride as it celebrates queer freedom and love with cheeky references, partner swapping and boldness.

Gatwa's Algernon opens the show in a large pink frock, with the ensemble his backing dancers, gender swapping and living for the moment. This dream like opening illustrates this care-free fantasy life living Algie, used to getting his own way because he is cheeky, he is charming and he knows how to win hearts. This Algernon can get away with anything, and he knows it. His easy going free spirit is the perfect opposite to the tightly wound Ernest/Jack, played by Hugh Skinner, who showcases his natural flair for clowning and comedy with his highly physical portrayal of the young lover. Skinner bounces around the stage with a boundless energy, every announcement, revelation and outburst punctuated with a kick and a fizz, much to the delight of the viewer.

As Gwendolyn, who dreams of marrying an Ernest and finding her freedom away from her mother, Adékoluejo shines. Her poise and elegance as the young lady that high society expects is merely an outside projection, as a naughtier, cheekier firecracker lies beneath. She knows what she wants, and won't take no as an answer, having Skinner's Ernest, and the audience, hanging on her every word. Eliza Scanlen's Cecily, all innocence and light, sees the good in everything and lives at top speed, throwing herself into everything but her lessons, to her annoyance of her guardian Miss Prism (Amanda Lawrence). Alongside Adékoluejo, they are a delightful double act, battling it out over the confusion of multiple Ernest's and working together to put the misbehaving boys in their places.

With some of the play's perhaps most iconic lines in her little black book, Lady Bracknell played here by Sharon D Clarke, commands attention and acclaim, despite only appearing in a couple of scenes. A high society puppet master of sorts, this Lady Bracknell picks apart the character's downfalls and plays with their emotions, teasing them with happiness and making them work it out for themselves, for great comedic effect.

From Cecily's flouncing flowery frock to Algernon's sharp and immaculate suits, Rae Smith's costuming and set design is beautiful, painting a picture of finery and opulence whilst celebrating pride and love as flowers flood the stage, shelves of books reach the ceiling and shades of pink are injected at every opportunity.

Exploring the ideas of society expectations, mocking victorian rules and ways and praising the younger generation for ripping up the rulebook, this production of The Importance of Being Earnest is a celebration of colour, love, fantasy and freedom and whilst it is now available to stream on National Theatre at Home, lets hope that it is not too long before it is back on stage.

Stream here https://www.ntathome.com/the-importance-of-being-earnest