by Claire DeMarco
You know trouble is brewing when two friends take on alternate identities using the same name!
Jack Worthing (Paul “Paulie” Deo, Jr.), is a gentleman and landowner with multiple responsibilities, including the guardianship of his niece Cecily (Alex Manalo). Tired of the social constraints of this environment, Jack creates a new identify called Ernest in another town where he can live more freely. He can behave or misbehave, whatever suits his fancy. He explains his absences on weekends by pretending that Ernest is his troubled brother who needs his supervision. As Ernest he falls in love with Gwendolen (Veronica Del Cerro), daughter of Lady Bracknell (David Ryan Smith).
One of “Ernest’s” weekend friends is Algernon Moncrieff (Dylan Marquis Meyers), nephew of Lady Bracknell. After an extensive time period, Algernon confronts Ernest after discovering his duplicity. Algernon queries Jack. Algernon’s interest is piqued when Jack tells him about Cecily. Algernon also has an alternate identity as Bunbury, an invalid he creates in order to avoid anything that he deems annoying.
Independent of one another, Jack decides to kill off Ernest now that the charade is uncovered while Algernon decides to visit Jack as his “brother” Ernest. One of the main reasons for his visit is a chance to meet Cecily.
Mistaken identities, miscues, misunderstandings and mayhem take over as this 1890’s version of a modern soap opera unravels.
Transitioning easily between both characters, Deo is believable as the socially upright Jack and the less than upright Ernest. He has great delivery and timing, whether it’s comedic or dramatic.
Meyers plays Algernon as the rich, spoiled, capricious nephew of Lady Bracknell. He is able to camouflage (when necessary) a sense of compassion in a character who is self-centered, spoiled and lacks purpose. He uses mannerisms and carriage to heighten this perception.
Sashaying gracefully across the stage, towering Smith is the epitome of a snobbish grand society dame with a need and no constraints to insult anyone. Facial, hand and body movements highlight Bracknell’s persona.
Del Cerro’s Gwendolen captures the upper-class socialite who never fails to speak her mind about etiquette and protocol to anyone she deems needs to hear it. She easily softens as she joins forces with Cecily over the “who really is Ernest dilemma”.
Manalo is convincing as the naïve but determined Cecily, intent on marrying Algernon after she is enticed by Jack’s stories about his wayward brother. Her imagination drives her to the point of creating situations and scenarios that haven’t happened (yet).
Susan M. Lynskey as Miss Prism, Cecily’s school mistress and Joseph McGranaghan as Canon Chasuble, both professing their celibacy and uprightness around each other, are excellent as their facial expressions, general demeanor and word innuendoes indicate quite the opposite.
Each cast member compliments one another. Their timing, physical movements, facial expressions are well-balanced.
Oscar Wilde’s “The Importance of Being Earnest” was written in the late 1890’s, satirizing the social conventions of Victorian society. It was witty and clever then and it’s witty and clever today.
Pittsburgh Public’s production of this “wildely” popular treasure is brilliantly executed.
The set is minimal but elegant with a few chairs and tables moved around as the scenes change. Elements added to the backdrop also suggest location moves.
Hugh Hanson’s costume designs are spectacular.
Excellent direction and adaptation by Jenny Koons.
“The Importance of Being Earnest” was written by Oscar Wilde.
-CED
“The Importance of Being Earnest” is a production of Pittsburgh Public Theater. Performances run from March 27 through April 14 at the O’Reilly Theater.
