[LJ2ME] Making An Earnest Living
Seldom have I so anticipated a show and rarely has a show lived up to said expectation. Thus, few and far between are shows that live up to both counts. Wild Rice's take on Oscar Wilde's classic comedy of manners, The Importance of Being Earnest, was a fail-proof formula for success from the get go.
The controversial all-male cast stepping into and filling the shoes of these landmark characters of the seminal work admirably breathed new life into their parts and crept under the skin of their alter egos. While decidedly not a performance in drag, the female parts as carried out by the male actors nonetheless heightened the dramatic potential and possibility of the roles.
Most inspiring was Chua Enlai whose Gwendolen Fairfax dripped with arch mannerisms and hormonal imbalance. The way he stole the scene and chewed up the scenery was most revealing of his art and craft. Less effective but not to be outdone was Gavin Yap's Cecily Cardew who was played airy-fairy and a little ditzy and dorky. The ending of Act 2 where the crossing of paths and the heated exchange escalates into high gear was scintillating in the witty war of words.
Making a smaller impact due to the size of their parts were Hossan Leong and Ivan Heng as Miss Prism and Lady Bracknell respectively. Prism's prim and proper facade hinted at the repressed individual inside as the mask was stripped away and revealed insecurities and imbalance. Leong upped the caricature stakes with the shrill squawk he does so well and that milked the laughs. Heng was a trite restrained and reined in, his imperious dowager matronly but with timed and purposeful intent when feeding the punchlines.
Daniel York's John Worthing was a lesson in manners as his impeccable speech and accent were a masterclass in the upper-crust cut-glass British tongue. So involved was he that he spewed spittle in his vociferous debate with Brendon Fernandez's Algernon Moncrief. Fernandez was charm itself as the agent provocateur where his dapper appearance and easy-go-lucky delivery fleshed out the lackadaisical attitude of the character.
While it may be the production and performance that lifted the work to higher ground, it is undeniable that it is Wilde's humour and wit that inspired the actors and made them give of their best. Whatever the debate, it is a win-win situation where the one helps the other in increasing consciousness and improving presence.
The supposed live music by the Tang Quartet was not presented as soundtrack but as introduction or interlude to the performance before acts. The beautiful music reverberated in the theatre to an appreciative if unfamiliar audience.
Director Glen Goei earned his bouquets for his sterling direction and spot-on stage cues to grab the audience by the jugular. Each effortless action and reaction seemed natural and instinctive but undoubtedly, Goei's hand played a part in composing the gag factor. Heng as set designer economised with six tetrahedral columns that were positioned with opposing faces each scene. Hanging chandeliers and Victorian chairs completed the look. Sparse yet succinct.
True to text, I've now realised for the first time in my life the vital importance of Being Earnest.
The controversial all-male cast stepping into and filling the shoes of these landmark characters of the seminal work admirably breathed new life into their parts and crept under the skin of their alter egos. While decidedly not a performance in drag, the female parts as carried out by the male actors nonetheless heightened the dramatic potential and possibility of the roles.
Most inspiring was Chua Enlai whose Gwendolen Fairfax dripped with arch mannerisms and hormonal imbalance. The way he stole the scene and chewed up the scenery was most revealing of his art and craft. Less effective but not to be outdone was Gavin Yap's Cecily Cardew who was played airy-fairy and a little ditzy and dorky. The ending of Act 2 where the crossing of paths and the heated exchange escalates into high gear was scintillating in the witty war of words.
Making a smaller impact due to the size of their parts were Hossan Leong and Ivan Heng as Miss Prism and Lady Bracknell respectively. Prism's prim and proper facade hinted at the repressed individual inside as the mask was stripped away and revealed insecurities and imbalance. Leong upped the caricature stakes with the shrill squawk he does so well and that milked the laughs. Heng was a trite restrained and reined in, his imperious dowager matronly but with timed and purposeful intent when feeding the punchlines.
Daniel York's John Worthing was a lesson in manners as his impeccable speech and accent were a masterclass in the upper-crust cut-glass British tongue. So involved was he that he spewed spittle in his vociferous debate with Brendon Fernandez's Algernon Moncrief. Fernandez was charm itself as the agent provocateur where his dapper appearance and easy-go-lucky delivery fleshed out the lackadaisical attitude of the character.
While it may be the production and performance that lifted the work to higher ground, it is undeniable that it is Wilde's humour and wit that inspired the actors and made them give of their best. Whatever the debate, it is a win-win situation where the one helps the other in increasing consciousness and improving presence.
The supposed live music by the Tang Quartet was not presented as soundtrack but as introduction or interlude to the performance before acts. The beautiful music reverberated in the theatre to an appreciative if unfamiliar audience.
Director Glen Goei earned his bouquets for his sterling direction and spot-on stage cues to grab the audience by the jugular. Each effortless action and reaction seemed natural and instinctive but undoubtedly, Goei's hand played a part in composing the gag factor. Heng as set designer economised with six tetrahedral columns that were positioned with opposing faces each scene. Hanging chandeliers and Victorian chairs completed the look. Sparse yet succinct.
True to text, I've now realised for the first time in my life the vital importance of Being Earnest.