Theater review: The Importance of Being Earnest at Fort Worth Community Arts Center

by Laurie Lynn Lindemeier of John Garcia's The Column

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The actors brought out the trivial humor in the play with hilarious mock serious tones.

This is the first performance I've viewed of The Importance of Being Earnest (presented by Stolen Shakespeare Guild through October 24), a "Trivial Comedy for Serious People," in which so much of the witty dialogue could be clearly heard and thus, absorbed. Often Oscar Wilde's sharp Shakespearian-like text is lost in the actors' mumbling or drifts off into the rafters of a poorly designed theatre.

However, in the intimate setting of the Sanders Theatre at the Fort Worth Community Arts Center, every scandalous word of chatter between the Victorian actors is enjoyed. The audience heard the actors even when they spoke softly. As a result, we experienced the gamut of human emotions without electronic amplification. The actors did not have to struggle from their diaphragms in a huge room. The intimacy was such a nice treat.

The accurate comedic timing of the loaded text crafted by Wilde in 1895 is no small task. However, the cast of the Stolen Shakespeare Guild in Fort Worth certainly undertook and accomplished their theatrical mission with great skill. Their British accents were nearly flawless and the rapid punchy deliverance of the tongue-twisting lines amazingly smooth. Don't blink an eye, or you will miss something! Have an espresso before you come, and you'll be just right.

At one point I thought I heard a lapse into a Southern drawl by one actor, however, I have my suspicions that the falter was intended. Even if the momentary Southerner sounds weren't purposeful, to my taste, it actually enhanced the show. I take pleasure in many layers of comedy. Not always doing the most obvious or sneaking in a bit of poking fun at one's own local accent fits in nicely with how Wilde penned a play that has been viewed as a social commentary on British values or lack thereof. For instance, is marriage a serious matter? Is telling the truth about one's identity absolutely necessary?

Do know that enjoying the humor of this satirical play on a surface level sans under underlying messages is a perfectly legal way to enjoy this production. As I leaned back in my seat before the performance, I perused the actors' bios and could hardly believe their performance backgrounds. With a few minutes to spare before the show, I dashed back to the ticket counter to quiz Lauren Morgan, the executive director, "Is this a community theatre?" Morgan clarified that yes, indeed, this is a community theatre company.

In addition, the playbill revealed the amazing split set was constructed by the Boy Scouts of Troup 188 and "kids from the neighborhood" helped paint the intricate scenic backdrops. The tree in the garden somehow reminded me of the trees in the forest of the kids' TV show, H.R. Pufnstuf. The silver tea set used and period furniture gave the feel of being in the middle of London in the 1800s. Props artisan Nancy Waak collected the authentic items. Lauren Morgan designed the elaborate costumes, which no doubt helped the actors sink even deeper into the posh characterizations of idle English gentlemen and ladies. Cynthia Matthews plays Lady Bracknell, who strode about in dresses with matching hats that were particularly stunning and added an air of sophistication.

None of the characters seems to have much of an occupation. In one scene, the unemployed Jack Worthing, smoothly played by Mickey Alpert, confesses to Lady Bracknell that he does smoke. As she adjusted her hat adorned with flowers, Lady Bracknell declared, "That is well. A man should always have an occupation." Ah yes, a beautiful dress with a matching hat is quite important. Jack Worthing's ward, Gwendolyn, played by the coy Cythia Matthews pointed out, "In matters of utmost importance, style, not sincerity, is the vital thing." The stylish costumes of the male characters were not to be rivaled either.

Algernon Moncrieff, performed by Ian Ferguson, obviously enjoyed prancing about in his satin and brocaded suits. His character was imparted some of the best lines, "I don't play accurately — any one can play accurately, but I play with wonderful expression." As a piano teacher of 30 years, well, alright ... I'll agree. Ferguson's smart portrayal of "Algy" was immensely entertaining.

Many aspects of this production came together so well. Keith Glenn and Steven Lindsay's brilliant split set design allowed two scenes to play concurrently. The ladies observed the gentlemen in the garden from inside the flat. Both conversations could be followed in the same scene — a clever device executed well. Before leaving the theatre I had to congratulate the director, Steven Lindsay, on a job well done. With his direction, the actors brought out the trivial humor with hilarious mock serious tones.

Do not miss the opportunity to enjoy this British farce as it blossoms in close proximity to the Botanic Gardens before it closes October 24. You certainly can't go forever in your life not knowing why it is important to be Earnest. Keep in mind that tickets for the entire season are sinfully affordable and the art displayed in the center provides a feast for your eyes during intermission — a two-for-one bargain!

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