The story begins in the London home of Algernon, where his friend Ernest confesses that his real name is Jack, and Ernest is the name of a brother he invented as an excuse to go to town. He wants to marry Algernon's cousin Gwendolen, but her mother Lady Bracknell isn't too keen on the idea considering Jack/Ernest's suspicious beginnings. We then move to Jack's country estate where Algernon impersonates Jack's fictitious brother Ernest in order to woo his ward Cecily. You can imagine the confusion when Gwendolen arrives to see her fiancé Ernest and finds the other lady also recently engaged to an Ernest. They soon straighten things out as the men confess their true identities, but there's still the matter of Lady Bracknell, and a surprising confession that changes everything.*
Craig Johnson directs the play with a tone of serious silliness, with which the talented cast complies. The three-act play is performed in two acts (the first half the length of the second), and the story continues with constant momentum through the nearly 2.5 hour (including intermission) runtime. There is much physical comedy, including that involving real food that is really being eaten (and spit out and thrown around the room), and much ridiculousness of manner. Cody Carlson is a charming Jack, his calm veneer slowly wearing away. Lewis Youngren, a staple on Lakeshore's stage the last few years, is a delightful buffoon as Algernon (and does most of the comedic eating). Skye Stuempert is a sweet and proper Gwendolyn, and Aerin O'Malley is simply perfection as Cecily, the words coming out of her mouth in the most precise and delicious way. I think this pairing of the two young ladies is my favorite in the show, as they go from instant friends to mortal enemies to sisters in the space of a conversation. Mary Cutler reigns over the whole affair in the most serious and most ridiculous way, every statement a declaration. Rounding out the cast are Anna Olson as Cecily's governess, Rick Lamers as the local rector, and Michael Garry with two completely different performances (and accents) as the city and country servants (kudos to dialect coach Gillian C. Rosewell).
The simple and elegant set converts from Algernon's city home in Act I, with classic and classy drawing room furniture, to Jack's country estate in Act II, with garden furniture surrounded by flowers and topiary. Both are set against a backdrop of arches a few steps up, on a softly multi-colored tile floor. The lighting design heightens the cool elegance of both locations, and sound design includes doorbells and other subtle cues. The costumes are positively scrumptious, over the top in the best way, the women with huge bustles and ruffles and many layers, the men in colorful character-specific suits, all with matching hats and gloves and handbags. (Scenic design by Sarah Brandner, props design by Brandt Roberts, lighting design by Wesley Cone, sound design by Marcus Whitehouse, costume design by Eleanor Schanilec.)
This delightfully, hilariously Earnest party continues through March 22 only! Get a taste of it in the trailer below:
*Plot summary borrowed from my reviews of previous productions.
