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It feels lazy to describe Ben Henson’s adaptation of Oscar Wilde’s most enduring work as fabulous. But it is. Considering this is a work that so earnestly celebrates frivolity, there is, ironically, a rigorous work ethic on display here from the moment of entry, and it’s a joy to witness so complete and well-realised a vision.

Earnest reimagines Wilde’s The Importance of Being Earnest – a Victorian romantic comedy of the highest order – in a 1950’s gay gentleman’s club. Director Ben Henson consistently brings a strong aesthetic touch to his work, and his production of Earnest is no exception. From the moment of arrival (when we’re greeted by Stephen Butterworth in full and gin-soaked drag) we’re awash in shimmering green lights and well-tailored young dandies dancing cheek to cheek, before the show starts proper and this cabaret-like performance begins with a song or two.

The plot is high-farce, revolving around a couple of Victorian gentlemen and the confusion caused for them and their various partners and hangers on by their deceitful use of the pseudonym, ‘Ernest’. But the plot isn’t the point here. It’s the treatment and delivery which make Earnest. True to the cabaret form it has taken on, we’re treated to all manner of interpretations throughout the show. A scene of romantic courtship becomes a dance sequence. A battle of manners and wits over tea becomes a boxing match. At any moment the cast might converge en-masse and act as a Greek chorus.

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The show’s songs are led by musical director Robin Kelly, who plays piano and conducts an all-woman Jazz quartet. The band accompany the songs, provide bedding for some of the play’s scenes, and throw in the occasional snare-shot or muted trumpet sting, for good measure. The musical segments consist of a variety of stripped-back Cher covers, sung by the cast, which act as a kind of commentary on the show’s main action. Though these provide a lot of energy and are undoubtedly enjoyable, a few songs could have been cut without the show being any worse off.

The cast are brilliant, and all make sure that not a drop of Wilde’s unmatched wit goes to waste. Jordan Mooney is outstanding as Algernon and has the crowd like putty in his hand. David Sutherland, as Jack, manages to carry us through the farce with a deft touch and his interactions with Cole Jenkins’ ever-droll Lane are excellent. Eli Matthewson and Oscar Wilson are hilarious as Cecily and Gwendolen. Stephen Butterworth seems to have found in Lady Bracknell, the part he was born to play. Jordan Selwyn and Andrew Ford imagine Miss Prism and Chasuble as a kind of clownish double act who perfectly complement and offset the rest of the cast’s sparkle and wit. To single any individual out is unfair. They’re all excellent. And most importantly they excel as a cohesive unit.

The set (John Parker), lighting (Rachel Marlow), and costume (Elizabeth Whiting and Gayle Jackson) all come together brilliantly. Nothing feels out of place in Earnest. All elements have come together and speak in-unison.

What I love about Ben Henson and his work is the fearlessness with which he deconstructs and reimagined canonical works. Where others tread lightly for fear of offending some imaginary Gods of Theatre, Henson displays his reverence through joyful celebration. It’s as fun as it is refreshing and in the wake of last year’s marriage reform, bearing witness to this group’s expression of love and pride transforms this famously trivial work into a surprisingly weighty and truly unmissable event.

It would be a crime if this short run in Q theatre’s Loft proves to be the entirety of this work’s life. Hats off to all involved.

Earnest plays at the Q Loft from 27 August - 6 September
Tickets available through Q Theatre

See also:
Janet McAllister for NZ Herald