Story in 2 sentences: Jack Worthing pretends to be his brother, Ernest, when partying in the city, and finds love. His friend Algernon pretends to be Ernest when partying in the country, and also finds love.
People who should see this show:
People who enjoy light comedy.
People who enjoy light comedy.
Gays who enjoy looking for hidden meaning, but don't want to work too hard at it.
Well, we knew we were in for a treat when the woman across the aisle from us pulled out a glass, some ice and a mini-bottle of scotch from her oversized handbag, and poured her husband a drink before fixing one for herself. We judged her, though we would have judged her less if she had offered us a drink as well.
The worst part about seeing a play in Vancouver is the pre-show commercial, and the Arts Club is horrible for it. Every performance, the same officious guy (reminds me of a former boss) comes out, thanks the sponsors and then acts surprised when some idiot starts them all clapping. No thank you. I turn commercials off at home; I refuse to applaud for one when I'm at a show.
I read the director's notes. I shouldn't; it generally sets my teeth on edge. David Mackay's did, this time by denying any homosexual (he says 'uranian' -- he's very educated) undercurrents in the play. OF COURSE there are homosexual undercurrents.
1. Bunburying -- leading a double life
2. A rakish confirmed bachelor
3. An incorrigible brother who dies in Paris
4. Algernon's obsession with cucumbers
5. THE GUY IN THE DRESS whom you cast as Algernon's Aunt Augusta, Mr. Mackay.
After the silent prequel scene, (a bit of unnecessary hocus-pocus, no doubt trying to get us in the mood for melodrama), the curtain rose on a disappointing set. Amir Ofek obviously didn't want to be stuck with Downton Abbey-like drawing rooms and gardens, so he, of course, treated us to a giant top hat and mirror, followed by a sort-of garden, and finally a pile of suitcases. Imaginative? Possibly, although I wasn't really excited by it -- seemed sort of half-assed Alice in Wonderland -- but definitely detrimental to the blocking. Rather than people sitting around having tea, Mackay had them standing in a line talking to one another. To allow us to concentrate on the words, no doubt. Bah.
The performances ranged from pretty good to really good.
Ryan Beil, as Jack Worthing, was spot-on. He really was made for intelligent comedy. His counterpoint, Charlie Gallant, was less so. He played the foppish Algernon with too much sincerity in the first half, though he warmed up after intermission. Amber Lewis, as Gwendolen, was solid, but the real star of the young lovers was Ella Simon as Cecily Cardew. I was prepared to hate her; after the first two lines, her accent had already ranged through half of northern Europe, then paused in southern California. However, she won me over with her innocent comic timing -- sincerity fit her part perfectly.
Of the smaller roles, Deborah Williams's Miss Prism was the standout. Her flawless timing, perfect voice and brilliant physicalization made it difficult to take my eyes off her. I found myself wishing she were in more scenes. Allan Zinyk as Lady Bracknell was a bit too restrained for my taste, especially in comparison, and Simon Bradbury's Reverand Chausible and Allan Gray's Lane/Merriman were both cases of actors working really hard to make small parts memorable. They sort of succeeded, but not in a good way.
It was a good time. Plays until April 15th.
Some Highlights:
Lewis and Simon's oh-so-polite catfighting over tea: the best written scene in the piece, played perfectly.
Beil and Gallant's muffin fight: genius.
Beil and Gallant's muffin fight: genius.
Williams's rapturing over her handbag: creepily hilarious.
The drunk lady who finished off Ryan Beil's last line for him.
