Stage Review - The Importance of Being Earnest (The Original Theatre Black Dog)
Stage Review - The Importance of Being Earnest
Presented By: The Original Theatre Black Dog - Issaquah, WA
Show Run: February 23 - March 10, 2024
Date Reviewed: Sunday, March 03, 2024
Reviewed By: Greg Heilman
Whenever I have the opportunity to take in a work at a new theatre, well new to me at least, I do so with a mix of feelings, part excitement and part apprehension. I never know what I’m going to get, nor am I sure what I’m going to see on stage. How well is the venue set up to present something in a way that doesn’t feel too large or too small for the space? How will the director construct a show to take advantage of the nuances of a particular building? These are some of the questions that I look for answers to when being introduced to a new theatre. As I continue to expand my breadth of coverage and radius “around the Sound”, I find that more and more I do enjoy being introduced to new theaters and troupes. The latest on that list is The Original Theatre Black Dog, a group that has been active in the Snoqualmie Valley and Issaquah area for over 25 years, so while it’s been a staple locally for a number of years, my visit to the Historic Issaquah Train Depot Museum, where their latest production, Oscar Wilde’s The Importance of Being Earnest is on stage, represents my first experience with Black Dog. With these mixed feelings and unanswered questions, I stepped into the venue this past Sunday, and was pleasantly surprised. From a space perspective, it’s nothing if not quaint. The building itself has some age to it, being well over 100 years old, with original wood floors and walls, you can almost feel the bustle from when it was in use during the railroad’s heyday. It’s not a large space, so seating is at a premium, but with a raised stage that is high enough to see above or between the people in front (if you’re not in the first row), sight lines are decent. Of course, I wasn’t there to review the building, though as I said I’m always curious to see how a space adds or detracts from the aesthetic of a show. In this case, an old building being the setting for a show that itself is set in 1895 seems to be just about right. And the show itself? I can summarize it by saying that after a few years of doing this, I really appreciate it when I’m pleasantly surprised at the quality and sheer entertainment value of a show, regardless of the size of the space or the group putting it up. Two years ago for me, that show was inD Theatre’s Hay Fever, last year it was Lesser Known Players’ Ride the Cyclone, and this year, I can add The Original Theatre Black Dog production of The Importance of Being Earnest to that list.
The play itself, for my money, is right up there as one of Wilde’s most ingenious and outright funny shows. It is an absurdly farcical story that deals with the Victorian institutions of conformity, class, and marriage, told through two friends, each doing pretty much whatever he wants to enjoy the finer aspects of life. It’s a three act play, presented here with the uncommon set of not one, but two intermissions, and tells the story of Algernon Moncreiff, confirmed bachelor and lover of leisure along with his good friend John Worthing. Worthing is looking to propose to Algernon’s cousin Gwendolen, which seems above board until Algernon quizzes his friend about why he left a cigarette case with the inscription “From little Cecily, with her fondest love to her dear uncle Jack”. Jack, of course, being short for John, however it doesn’t make sense to Algernon, as he knows John, or Jack, by the name Earnest. The fact of it is that both John and Algernon have been “Bunburying” (if you know, you know, and if you don’t, I implore you to go and see this play!), and the result is hilarious and edge of the seat engaging, a play so well written by Wilde, and so well delivered here that it’s quickly become one of my favorite productions of the season.
Given that the space this show is being presented in is relatively small, there are no wings for the comings and goings of actors or set pieces, the set, designed by Tenesia Knudsen, serves mainly as the backdrop in each of the scenes, the first in Algernon’s drawing room, the second and third at two locations around John’s country estate. The set isn’t overdone, nor has Teneisia skimped on detail, there is enough here for the essence of the spaces while keeping space for movement, which there is plenty of. There is a choreography to Director Susie Bradford’s blocking, it’s more than just actors moving from one spot to another, there’s a dance here, especially with the small space, that needs to be precisely delivered, in fact it’s imperative for the success of the play, and these actors fluidly flow about as if they were naturally inclined to the movement. Small spaces also mean that the actors are left with the lion’s share of the storytelling, and that’s honestly where this show soars.
The sheer entertainment value of this show, not to mention its place as a fantastic tribute to the work of Oscar Wilde, starts and ends with the cast that Susie has put together here. As a group, and to a person, they have to be perhaps the most expressive cast of any I’ve seen, so much so that this could be presented as it is here, or in a much larger venue, and the expressions and mannerisms of these actors wouldn’t be lost to the distance. The ensemble here, together, is just top notch, all clearly talented and well prepared, and each a master with his or her portrayal. If there is a standout among this group, and it’s exceedingly difficult to say any one of these actors does stand out, it would have to be Kowan Russell as Algernon Moncrieff. Kowan’s performance, from the cadence of his dialogue to his mannerisms and expressions, just screams “man of leisure”. His character is written as the most entertaining of the bunch, and this performance doesn’t only meet that standard, it blows it away. Along side is Stav Hinenzon’s John Worthing, or Jack, or Earnest. The story is about this character of course, and his actions drive much of the action, but at the same time Worthing is the victim of much of the foolery, most a result of his own behavior. This requires a range that Stav handles easily as the audience watches the consequences of his actions waver between good and bad. He and Kowan are so complementary to each other in these roles, their exchanges could easily carry a good deal of this show, and they do.
As if these two male leads aren’t enough to make this a show worth seeing, I present the Madland sisters, Holly and Grace. Holly plays Gwendolen Fairfax, the one John has traveled from his country home to town for his proposal, while sister Grace is Cecily Cardew, John’s charge, in residence at his country estate. Gwendolen, who travels with her mother Lady Bracknell (Karen Beisner), is more than happy to accept John’s (or is it Earnest’s) proposal, except for the objections of said Lady Bracknell, who won’t allow it, given her daughter’s prospective fiancé’s unknown and potentially sordid background. This tug of war that Gwendolen is involved in plays out hilariously, thanks to a stunning performance from Holly, who exhibits a talent for comedic timing and a penchant for the expressive. The performance is as big as her character’s personality. Grace, meanwhile, plays a younger Cecily, one who is more sheltered and naive than Gwendolen, and while she’s technically in the care of “uncle Jack”, she’s tutored by, and otherwise managed by Miss Prism (Tracy Kirkpatrick). What I like about these two performances is how these characters are played so uniquely, and how despite some of the similarities in their arcs, they manage them differently.
Tracy’s Miss Prism is strict with Cecily, but has a clearly soft side, especially when she’s around the local pastor, Rev. Canon Chasuble, played here by Amit Rosenberg. Their interactions are fun to watch, especially when it turns a bit flirty. Rounding out the supporting cast is Christine Fisk, who plays two similar but different characters, Algernon’s “manservant” Lane and Merriman, the butler at John’s country estate. It’s in the latter that Christine shines, her Merriman being caught in the middle of the confusion between who John is, or Jack, or Earnest, or Bunbury for that matter. She’s frazzled, frustrated, and funny.
And while the show is extremely funny, it’s also very beautifully designed. Costuming is excellent here, Susie Bradford’s design reflecting the personalities of each of the characters, from Algernon’s leisure wear to Gwendolen’s big dresses, each is uniquely suited to the characters and their actors. With small theatre groups, sometimes it’s “all hands on deck”, and many do multiple jobs, the Original Theatre Black Dog production of The Importance of Being Earnest is a case in point. I mentioned Tenesia Knudsen and her set design, but she’s also the stage manager and responsible for sound and light. Further, and in addition to her other two roles on stage, off stage Christine Fisk handles props, flower and hat design, and she’s the pianist for some of the background music played during the show. It’s a small, but mighty, group that has clearly put everything into this show, making the most of the space they’re in, and handing off the storytelling to the actors when they need to. It’s a very well put together piece.
On its own, The Importance of Being Earnest is one of Oscar Wilde’s most enjoyable plays. It’s an absurd farce that has staying power due to its situational humor and well constructed and fast paced dialogue. The Original Theater Black Dog production of The Importance of Being Earnest, directed by Susie Bradford, uses a simple, but elegant production design, and a stellar cast to not just bring Wilde’s story to life, but raise it to a level of absolute enjoyment that serves as proof that great theatre isn’t limited to just the large houses in Seattle, but can also be found in a 135 year old train depot.
The Original Theatre Black Dog production of The Importance of Being Earnest runs onstage at the Historic Issaquah Train Depot Museum through March 10. For more information and tickets, visit https://www.theatreblackdog.com/#/.
