Last year, the National Theatre announced a new production of Oscar Wilde's comedy The Importance of Being Earnest under the direction of Max Webster. The show initially had a limited run from 20 November 2024 to 25 January 2025 at the Lyttelton Theatre. Now, after recasting, it has transferred to the Noël Coward Theatre.
It can be a worry when a show is recast, will the new actors live up to the same heights as the prior? There are no concerns for this stellar production. Every person on stage is perfectly suited to Webster's production.
The show follows two men, one from the city and another from the country who lead double lives. Unfortunately, their lies cause complications when they finally meet women they might like to marry.
Olly Alexander, as Algernon Moncrieff, opens the show and indulges the audience in a captivating performance on the piano that can only be described as a gay man's fever dream where they play the role of Marilyn Monroe. Throughout the show his finger turns express eccentricity, and his tongue is so often in cheek it must ache.
A continuous stream of dialogue between Olly Alexander and Nathan Stewart-Jarrett as Jack Worthing ensures that the audience remains captivated by the constant pace as they discuss marriage and talk utter nonsense.
Wilde's improbable comedy is brought back to full vibrancy with so many nods to g-a-y-s, you couldn't call them easter eggs, you'd have to call them Fabergé eggs. One such is the letters of debts from the Savoy and then the Royal Vauxhall Tavern.
The two characters who both want to be Earnest are demonstrated through the most exuberant costumes (especially the mourning suit with a grey handkerchief as a finishing touch). My only gripe on the costume is that the white trousers needed a good steam in the interval.
We see Stephen Fry as Lady Bracknell in the most ridiculous of purple dresses, and his presence as a powerful and towering force is instantly felt. Every vocal pause is done with such determination and purpose; he has truly mastered his craft.
Fry's fowl feather on his hat when he joins the troupe in the countryside is another costume design triumph by Rae Smith.
As for our ladies, Jessica Whitehurst as Cecily Cardew had wide eyes of expression, whilst Kitty Hawthorne as Gwendolen Fairfax held a perfect tone for her character. Hawthorne perfectly captures the bossiness of Gwendolen as a woman who knows what she wants and knows how to make a man ask for it.
The two have an incredibly well-crafted scene in the garden that is sure to have you howling with laughter. The oral battle of mock etiquette is exquisite. Whitehurst's broken doll eye trick is a brilliant use of physical comedy that would be out of place in any other show.
Hugh Dennis as Rev. Canon Chasuble and Shobna Gulati as Miss Prism, are much unlike how you'll know them from their TV roles and demonstrate how important it is not to typecast. They bring a wonderful presence to the stage. The character of Miss Prism is a great reminder that sexual desire does not expire with age.
I must also mention Hayley Carmichael as Merriman/Lane. Playing the role of butler, the bumbling simpleton role is so well delivered, you'll be greatly anticipating her presence on stage.
The constant rhythm of the play is extremely enjoyable, and with such a well-balanced cast you aren't left waiting for a star to return to the stage, you can simply enjoy each scene.
All you need to know to follow the show is that in the country, Algenon is Earnest, and in the city, Jack is Earnest. Then simply remember that neither of the men are earnest in their nature.
The Importance of Being Earnest is a remarkable show and will guarantee a glorious evening. The show plays until 10 January 2026.
It runs until 10 January. Tickets: here.
Review: James Dix Photos: Marc Brenner