‘The Importance of Being Earnest’ in review

The Harris Manchester Players immersed Oxford’s inhabitants in the delightful world of Oscar Wilde’s The Importance of Being Earnest this May. I was fortunate enough to be invited to their dress rehearsal, ahead of their debut, and spoke with director Sara Rourke about the creative vision behind the production. 

As I arrived in Harris Manchester, I was immediately enamoured with the College’s gardens, visible from the lodge. Sunshine filtered through the trees onto the carefully-placed armchairs and lampshades, a waiting set, and I met with Rourke just before the dress rehearsal began. We settled in the College’s JCR, where we discussed the role of director and how the production had come to be. When asked why Wilde’s comedy had been chosen for this term’s performance, Rourke responded that “Wilde’s wit feels like the perfect antidote” to “the stress of the term”. 

Certainly, as I took my seat in the gardens, I felt the immediate camaraderie of Jack and Algernon, and couldn’t help but feel relieved of worries, eager to be transported to this unfamiliar world of white lies and sweet reconciliations. The characters, their quick exchanges and humorous rebuttals, establish the tone of the production from the first line, a warm, convincing performance that leaves the audience hoping the interval isn’t too long. At Gwendolen’s entrance, and the introduction of her iconic fascination with the name ‘Ernest’, the audience feels a certain companionship with the characters, rooting for their respective successes. 

The magic of the production is certainly amplified by its surroundings; throughout the play I found myself entranced by the natural beauty of the College’s gardens. Purple florals hang from the back wall, forming a natural curtain across the outdoor scene. The enclosed quad makes for an intimate stage, but the College keeps moving amidst the performance. A piano is heard echoing from the open hallway, out of sight, creating the impression that the notes are held by the wind, and various College members pause to watch as the actors move across the garden. In the play’s second act, Gwendolen and Cecily can be seen peering through the windows of the first floor, overlooking the scene below as the men pace and ponder. There is a beating heart to the set of this production, as Rourke ensures not only that the audience is immersed in the play, but that the play is immersed within the College setting itself.

The beautiful costuming certainly aids the production in its captivation of the audience. There are sweeping plum dresses, intricately-designed waistcoats, flowing black cloaks, and more that truly convince the audience they have been transported. The actors hold the attention of the audience in every scene, in every movement or handling of a certain prop. Sam Bishton (Jack) and Ben Phillips (Algernon) possess a dynamic so convincing, mirrored by that of Elouise Wills (Gwendolen) and Maisie Thorn (Cecily). The quartet move in synchronicity, often speaking in unison, effectively relaying the complexity of the formed dynamics. The comedic climax of the play comes when Jack discovers his true mother, and is finally able to marry Gwendolen without interference. A dance sequence ensues as the happy couples move in circular motion, to the tune of the cornet playing in the centre. There is a real sense of satisfaction as an audience member witnessing this cheerful conclusion, the resolving of multiple miscommunications always eliciting a contented sigh from any onlooker.

There is a tender joyfulness achieved in Rourke’s production that is much needed in the middle of Trinity term, in Gwendolen and Cecily’s found friendship, and Jack and Algernon’s delicious banter. All members of the cast and crew contribute to an earnest relaying of Wilde’s classic.