Ah, The Importance of Being Earnest—Oscar Wilde’s beloved play whose title is both a clever pun and a hint at the story’s central theme. Not only does it allude to the story’s moral—that one should be true to oneself—but it also refers to the central plot twist: two friends who each assume the name “Ernest” to escape their responsibilities, only to find themselves entangled in a web of humorous misunderstandings.
The story follows Jack Worthing and Algernon Moncrieff, two young men in Victorian England leading double lives. Jack, a respectable guardian in the countryside, adopts the name “Ernest” while in London to live freely. Algernon, discovering Jack’s deception, decides to impersonate “Ernest” when visiting Jack’s estate, where he falls for Jack’s ward, Cecily. Meanwhile, Jack is smitten with Algernon’s cousin, Gwendolen, who is determined to marry a man named “Ernest.” Their tangled identities create a comedy of errors, as secrets unravel and everyone’s true origins are revealed.
This production of The Importance of Being Earnest was directed by Nicholas Hayes, a second-year Cognitive Science major at UVA and a member of Shakespeare on the Lawn (SOTL), a beloved student organization dedicated to making classical plays accessible. SOTL’s mission of opening auditions to the entire student body keeps theater accessible and engaging, as was evident in this production. Despite being called a “fall small project,” Hayes and the cast put considerable effort into every detail, from script analysis and blocking to countless rehearsals since the beginning of the term.
What set this production apart was its modern, UVA-themed twist. Characters donned UVA-specific attire, and the dialogue was peppered with local references—Algernon sporting a UVA jumpsuit, mentions of NOVA and JPA, and even a Cavalier Daily engagement announcement. These touches succeeded in creating a sense of connection with the audience, rendering Wilde’s humor refreshingly relevant. However, the blend of modern and Victorian settings felt inconsistent at times, as some characters oscillated between accents and conflicting time-specific clues. Although the modern elements garnered laughter, a clearer vision might have strengthened the overall coherence of the adaptation.
The highlight of the production was undoubtedly the talented cast, who brought an impressive energy to the stage. Claudia Hunn, playing Gwendolen Fairfax, was a standout, exuding natural stage presence and effortlessly commanding attention in every scene. Hunn was especially captivating in the climactic double engagement reveal, where her chemistry with Janelle Sasina’s Cecily Cardew created one of the production’s most memorable moments. Sasina, too, brought a dynamic flair to her role, embodying Cecily’s innocence and charm with skill and wit.
Antoni Matczak gave his character Algernon authentic charisma, enhancing his scenes with playful spontaneity. His uninhibited interaction with the stage environment—from flipping cups to casually adjusting props—gave him a lively, memorable authenticity. In the more subdued role of Jack Worthing, Ainsley Zirkle showed promise, though the performance sometimes felt reserved. She could have benefited from more varied expression and fluidity in her physicality, which would have brought greater depth to Jack’s emotional range.
Parthsarthi Sharma, in the role of Dr. Chasuble, delivered understated humor with excellent timing, enlivening a more restrained character. Likewise, Deniya El-Amin, as Lady Bracknell, nailed the comedic delivery of Wilde’s famously sharp lines, such as her classic remark on “losing both parents.” Although El-Amin’s performance was spirited, at times her volume was difficult to hear from the back of the Garden I where the show was performed, an issue that may have been solved by more consistent projection and open stage positioning.
While some performances were polished, others showed potential that could be further developed. Devon Bogucki, who played Ms. Prism, offered a solid and dependable performance, though it didn’t quite reach the high energy of some other cast members. Still, Bogucki’s consistent portrayal added stability to the ensemble and showed a foundation on which to build.
Notably, most of the cast carried scripts during the performance, which occasionally disrupted the flow and intensity of scenes. Whether due to time constraints or other factors, fully memorized lines would have allowed the actors to deliver their lines with more ease and connection to each other. The fact that the actors managed to shine even with scripts in hand speaks to their raw talent and dedication.
In summary, SOTL’s The Importance of Being Earnest brought Wilde’s wit and humor to life in a unique setting that resonated with the UVA audience. While there were areas for improvement—particularly around cohesion in setting and memorization—the cast’s natural talent and Hayes’ direction created a memorable and enjoyable production. For a smaller project, it showcased the potential of both the cast and crew to create something truly impactful. I look forward to seeing what SOTL accomplishes in future productions, especially as these actors continue to develop their craft. With dedication and refinement, this cast is bound to impress on larger stages—watch for their names in future productions.
The author has a background in theater from middle and high school, working both behind the scenes in tech (such as lighting) and on stage as an actor. She took acting classes and played the lead villain in a 1940s adaptation of Much Ado About Nothing during her junior year. Additionally, she supported her brother, a playwright, with minor technical assistance for a play he wrote and directed in his senior year titled Two Idiots in Cleveland.
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