Lady Lancing, Or The Importance Of Being Earnest

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Lady Lancing, Or The Importance Of Being Earnest at Ark at the Attic Reviewed by Melinda Schupmann July 28, 2010 In the waning days of the Victorian era, Oscar Wilde wrote this, his most popular and arguably best play. Conceived in four acts, with extended social commentary, but pared down to three at the behest of George Alexander, his producer, Wilde satirized English manners, morals, and politics with wicked wit. In this offering, directors Douglas Leal and Derek Charles Livingston have chosen to restore the play to the original longer version, including name changes—for those who are familiar with the shorter play. John (Jack) Worthing (Kenn Johnson) leads a double life: He is a dignified landowner and guardian of his ward, Cecily Cardew (Caroline Sharp), in the country, and he reinvents himself as the pleasure-seeking Ernest Worthing in London. When he falls in love with Gwendolen Fairfax (Anna Quirino), she insists she could never fall in love with a man with any other name than Ernest. To complicate things, Jack's friend Algernon Montford (Leal) discovers this ruse, follows Jack to his country home, and falls immediately in love with Cecily, who also finds the name Ernest essential to her happiness. Matters escalate when Gwendolen's mother, Lady Brancaster (Helene McCardle, new to the production), is the key to both men's happiness. Leal and Johnson deliver polished performances as the lovelorn suitors. Sharp and Quirino also capture the affectations of English society and are suitably charming. Jocelyn, however, labors with her dialogue, diminishing the punch of her comic pretentiousness. Supporting roles are well-delivered: Osa Danam as Cecily's companion, Miss Prism; Quincy Miller as Dr. Chasuble; Devon Myers as Merriman, the butler. Wilde's four-act version included a bill collector, Mr. Grigsby (Brendon Hawley), but his inclusion makes little difference in the plot line. Costumes are beautifully rendered by Danam in white to match Christina Silvoso's artistically painted, minimalistic set. The directors' choice of presenting each act in tableau before the action begins is effective. Less efficacious is the choice of miming in place of any props. Wilde's longer version of his play is interesting as a novelty, but Alexander was wise to tighten the script, as its epigrammatic barbs and sly wit are best focused on the central core of the story. Presented by and at Ark at the Attic, 5429 W. Washington Blvd., L.A. July 17–Aug. 15. Fri.–Sat., 8 p.m.; Sun., 2 p.m. (323) 969-1707. www.arktheatre.org.

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