A Trivial Comedy for Serious People

The Importance of Being Earnest

June is busting out all over. In celebration of Gay Pride Month there’s so much fun and so many colorful activities bursting out all over Chicago. Not to take a back seat to the festivities, Strawdog Theatre is flying their own Freak Flag with a fresh and frolicking new production of Oscar Wilde’s final play, THE IMPORTANCE OF BEING EARNEST. Wilde subtitled his witty work, “a trivial comedy for serious people.” 

In 1895, with what would become the playwright’s most popular offering, something groundbreaking was occurring. A play in Victorian times, while entertaining its audience, also demanded the inclusion of some sort of socially important message; a comedy couldn’t exist merely for the theatergoer’s amusement. Critical of the arrogant hypocrisy he saw all around him, Wilde set out to mock English social conventions, especially those that forced gay men to lead a double life. With special triviality he attacked that most serious of social institutions: Marriage. Through the play’s highly sophisticated farce, scathing satire and witty, humorous dialogue, Oscar Wilde’s comedy of manners became the zenith of his brilliant artistic career.

Dramaturg Dusty Brown, together with the production’s Director, Elizabeth Swanson, have brilliantly adapted Oscar Wilde’s droll, delectable dramatic diversion into a camp, contemporary comedy. It’s set in both Chicago’s Boys Town and Michigan’s gay, lakeside artist’s colony, Saugatuck. Ms. Swanson has already demonstrated that she’s one of the Windy City’s most talented directors. Recently she instilled life to a sexy, polished production of A STREETCAR NAMED DESIRE for Paramount Theatre. And a few seasons ago, Ms. Swanson earned a Jeff nomination for Kokandy Productions’ outstanding presentation of the gender-bending musical, HEAD OVER HEELS. Now Elizabeth can add “talented playwright” to her resume, because she and Dusty Brown have captured both the wit of Oscar Wilde and the whimsy of contemporary Chicago’s Gay Culture.

Strawdog’s rollicking production is very funny. The cleverly updated script works beautifully and the story feels perfectly at home set in Chicago. It’s filled with 21st century references to people, places and personal effects that Chicagoans will immediately recognize. Such names as RuPaul’s Drag Race, Gigi Pritzker, Mies van der Rohe’s luxurious Langham Hotel, Ogilvie Metra Station, Sidetracks video bar and, of course, Marshall Fields are all dropped like bleu cheese-stuffed olives in a martini. Indeed, here the English tradition of afternoon tea becomes a lavish cocktail party. Cecily’s syllabus of study with Miss Prism includes Yoga, Transcendental Meditation and the wisdom of Martha Stewart. And Gwendolen’s sensational diary is, quite naturally, kept on her cell phone.  

Elizabeth Swanson’s cast is great. Each actor captures the flavor and pretentious affectation of Wilde’s characters, while grounding them in an over-the-top reality of the contemporary LGBTQIA+ community. Jack Seijo is particularly excellent as Algernon, a role he was born to play. His posture, mannerisms and subtle vocal acrobatics do Oscar Wilde proud. Seijo casually spits out clever bon mots as effortlessly as he tosses back cocktails. There are no muffins, cucumber sandwiches, cake or fashionable bread and butter in this version of the play, but crackers without the cheese are served. Algernon is also equally at home with both Chicago’s aristocrats and their hired help, such as Merriman/Lane, Jack’s meticulously proper manservant and leather boy toy. He’s played with dry wit and Bette Davis eyes and by Matt Keeley.

Speaking of Jack, Johnard Washington creates a stylish,  sophisticated and snobby Jack Worthing. His endless banter with his friend Algie is as delightful as his hopeless mooning and flirtation with his true love, the gender-bending Miss Gwendolen. Sometimes given to blatant mugging, Mr. Washington slides even further over the top, but this is Oscar Wilde so it’s perfectly in keeping with his character. When he underplays his role, however, Johnard really gets it right and he’s absolutely delightful. 

Talented Designer Rain Foiles has a field day Costuming all the characters in this play, but especially when lavishing their creative talents upon Gwendolen. Foiles features the femme fatale as the play’s fashion plate. In a perpetual parade of  new coifs and couture, Gwendolen is played to coy, coquettish completion by Kade Cox. The actor simply slays as this smart, sultry sex kitten who knows when to purr and pucker their highly-glossed lips, and when to arch their back and spit. Sometimes wielding a metaphorical whip Cox uses their statuesque physicality to an advantage.

Another actor who really knows how to take command in this production is Andi Muriel, as Cecily. Playing Jack’s young ward, Ms. Muriel is everything Jack Worthing’s ward should be. The actress is pretty, perky and a little punchy, radiating a taste for romance and a hunger for adventure. Manipulating everyone around her, Cecily isn’t about to be overshadowed or controlled by anyone, least of all by her Ayah, Miss Prism (nicely played by Lynne Baker), the local zookeeper, Dr. Chasuble (a whimsical Crystal Claros), or her new bff, Gwendolyn.

And, in a masterful move, Brown and Swanson have given Oscar Wilde’s pompous, piquant-tongued Lady Bracknell a sex change. Not like the often-seen drag performances of the role, here the formidable Aunt Augusta becomes a gay gentleman named Augustus Bracknell. Algernon’s Guncle (a label popularized by author Steven Rowley in his bestselling novel, of the same name) is his gay Uncle, all perfectly coifed hair, tasteful but stylish clothing and a pair of pince-nez spectacles. As consummately portrayed by Michael Reyes, one of Chicago’s favorite veteran character actors, Bracknell navigates the stage like a three-masted frigate. This Augustus Bracknell sashays everywhere, dripping with disdain, glaring at his inferiors and taking no prisoners. He’s both a frightening force and an hilarious harridan, turning in one of the play’s funniest performances. Deliciously sliding up and down the vocal scale with each line of dialogue, Mr. Reyes delivers one of Wilde’s funniest and most memorable moments. Haughtily arching his eyebrows Bracknell looks down his nose at Jack and exclaims, in a rich baritone, “A handbag?”

Audiences who’ve never experienced this clever, absolutely delightful play have a real treat in store. Theatergoers already familiar with Oscar Wilde’s droll, sidesplitting, “trivial comedy for serious people” will rediscover both the playwright’s sparkling wit combined with a freshly updated, contemporary story, characters and setting. This adaptation features Wilde’s satire, much of his extraordinary talent with words, but an update to 21st century Chicago. Elegantly and energetically presented by a talented ensemble, under the guidance of director Elizabeth Swanson, and supported by a gifted artistic team, this production is the latest from one of Chicago’s continually evolving theatre companies. A polished gem, this production shines brightly and radiates with style, especially just in time for Gay Pride Month. And as Oscar Wilde wrote, “In matters of grave importance, style, not sincerity, is the vital thing.”     

Highly Recommended

Reviewed by Colin Douglas

Presented May 30-June 30 by Strawdog Theatre at Rivendell Theatre, 5779 Ridge Ave., Chicago.

Tickets are free, but donations are encouraged, and are available at the door. Reservations are highly recommended at www.strawdog.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.