What was your first reaction when Helen asked you to direct The Importance of Being Earnest and what fresh perspective do you bring to this classic play?
The Importance of Being Earnest has been a favourite play of mine for years, so the opportunity to not only direct it, but also to direct it for Grosvenor Park Open Air Theatre, was really exciting. For me, it’s a play championing freedom, love and liberty whilst also holding a mirror up to some of society’s hypocrisies, in particular from the ruling class – which feels just as relevant in 2024.
We wanted to reflect this feeling of 1895 meets 2024 in the design and feel of the show.
How do you balance honouring Oscar Wilde’s original vision with bringing your interpretation to the production?
Oscar Wilde was a great wit and satirist, so we have spent time in rehearsals exploring the language, musicality and lightness of touch that his text requires – he described it as a ‘somewhat farcical comedy’ when sending the first draft to actor-manager George Alexander, and so the rhythm and build through the play has been a focus.
Of course, there is also so much that is drawn out when rehearsing this play for the open air theatre; in particular the rose garden and the focus on gardens and nature, the music that is already referenced throughout the show, and of course the focus on food and drink is amplified when surrounded by audience picnics!
Can you talk about the casting process? What qualities were you looking for in actors to bring these iconic characters to life?
As Grosvenor Park Open Air Theatre always does, we were looking for a company of actors to play in both shows across the season. For The Importnace of Being Earnest I was looking for actors with great comedic timing, a sense of how to work with Wilde’s language and of course a good dose of mischief. In the context of the whole season, this meant also looking for transformative actors who would be great ensemble members – we have found that in the incredibly talented company this year.
How did you approach the comedic elements of the play, and what techniques did you use to ensure the humour resonates with today’s audience?
The humour feels timeless in this play: best friends that you love but who make outrageous choices, falling in love with people you shouldn’t, disguise, deception and demanding families!
Because music is so important at Grosvenor Park Open Air Theatre, we also wanted to explore the humour in the show through music in some additional places. And of course the greatest thing in the park is the audience, who are in the round and in close proximity, so they can be confided in by characters (and perhaps asked to throw a teacake or two) as the madness unfolds!
The play’s themes of identity, social obligation, and love are timeless. How do you emphasise these themes in your direction?
In Wilde’s words, “We should treat all the trivial things of life seriously, and all the serious things of life with sincere and studied triviality”. Of course The Importance of Being Earnest is a play which is there to entertain and amuse, but it also asks why people should be controlled or restricted from who they are or who they love by society.
Through comedy, I hope our production also is a reminder of the importance of love and acceptance.
Can you discuss your collaboration with the design team? How did you work together to create the sets, costumes, and atmosphere of Victorian England?
I really enjoyed the design process for this play. Our brilliant set and costume designer, Liz Wright has a great eye.
From our first meeting we knew we wanted to find a way to capture a Victorian silhouette, but with a 2024 colourway.
We discussed influences from art and film in terms of a strong pop of colour for each act. We then explored what those colours might be – blue for Algernon’s flat ties in with popular colour choices of the period including influences from peacock feathers linked with the aesthetic movement at the time, the pink of act two is taken from the pink rose garden mentioned in the script, and the yellow of act three (we have set this outdoors instead of in a morning room) allows us to fill the space with sunflowers – a symbol of the aesthetic movement and associated strongly with Oscar Wilde. We also wanted to give a progression through the colour palette of a feeling of winter to summer.
What do you hope audiences will take away from this production?
I hope we give them escapism, a good laugh, and a message to love whoever you want!