The Inkwell Dispatch

By Amelia Boag McGlynn

My reviewing, for the first time, took me further afield this week, landing myself in the Queen Margeret Union Venue to watch Student Theatre at Glasgow’s (STAG) preview performance of ‘Importance of Being Earnest’. Directed by Emma Comfort and Will Gowling and produced by my goodfriend from Edinburgh Fringe days of yore, Isobel Moorhouse, I sat down unclear on what to expect – and was met with a delightful theatrical experience of one of my favourite plays. 

For those unfamiliar, ‘The Importance of Being Earnest’ by Oscar Wilde debuted in 1895 as a comical play detailing the mishaps of two young men in London society who both assume double identities to avoid the obligations pushed by the unwanted social pressures of the period. It lightly mocks traditional Victorian customs, whilst prying into themes of identity, ego, hypocrissy and self-honesty. 

I have watched many student/amateur productions, whether at university, or through extensive Fringe trekking as an Edinburgh native. Often, performances are passionate, but clunky, feeling disjointed. There is a trap of amateur line delivery that almost leaves the prose hanging in the air, as if an unanswered question; not quite sure of itself yet, though you are sure over time it will develop more credibility. Words are definitely memorised, butultimately unfinished. This production of ‘The Importance of Being Earnest’ entirely avoids this fate. Each line was delivered entirely with the conviction of professionals; sound and sure. Despite the lack of full props, backdrops, furniture and lighting, the show still managed to be entirely captivating, succeeding in holding my attention for all three acts and leaving me excitedawaiting the next one during intervals. I envy the audiences on the actual show nights who will be lucky enough to witness this show with its full production.

The live band was a particular highlight. Their Bridgerton-esque covers of modern pop songs during pivotal scenes were an inspired addition to the show’s atmosphere. I was particulary tickled by their excellent rendition of ‘Girl, so confusing’ by Charli XCX (and Lorde in my mind, naturally) during Cecily and Gwendolen’s stand-off. By incorporating subtle modern pop-culture nod throughout the performance, this productionmanaged to stay true to the late 1800s diction, tangling the audience in the complex marriage mart politics of the era, whilst appealing to a younger crowd through comic relief and a cabaret twist.

Acting as the proper Lady Bracknell, Joe Emmens stole the show, exacting a level of stage presence I have yet to witness in professional settings. Affected and camp, his performance as Algernon Moncrieff’s (expertly acted by Alex Currie) aunt led me to laugh aloud the most throughout the production and had me actively looking forward to when his character would next appear on stage. 

Alex Currie as Algernon Moncrieff, and Logan Rodgers as Jack Worthing juxtaposed perfectly off one another, displaying the character’s difference in temperament and attitude towards their impending mischief in plain sight. It did not take long for me to write in my notes that the pair’s physical comedy provided an endless stream of amusement from start to finish.

 

Karabo Mzwimbi as Gwendolen Fairfax and Artemis Asadivand as Cecily Cardew were the ideal pair for the drastically differing young ladies, creating individuality in each role that allowed both actors to stand out. Their dialogue over the confusion of each engagement to ‘Ernest’ was superb, and the rounding off from their theatrical movements and dancing to ‘Girl, so confusing’ (as aforementioned) was one of my favouritemoments of the entire play. 

The supporting cast (Kathleen Tierney as governess Miss Prism, Oliver Holubecki-France as Canon Chasuble, Heidi Hughes as Lane and Natasha Cattley as Merriman) elevated the production, providing well-timed comedic relief and spectacular physical comedy. 

Overall, I was delighted by this play, and with its attentive crew and talented cast, as we all as the addition of props, backgrounds, lighting, and other theatre magic, this production only has upwards of excellence to achieve. 4.5 stars.