Review: The Importance Of Being Earnest (Noël Coward Theatre)

Review by Daz Gale

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National Theatre ended last year on a high with their acclaimed production of The Importance Of Being Earnest. Camp and colourful, it felt obvious this show was destined for a West End transfer. Less than a year later, it has moved into the Noël Coward Theatre with a new cast in tow, but would this transfer drive the audiences Wilde?

First premiering in 1895, Oscar Wilde’s celebrated comedy has become a timeless classic in the years since, with countless adaptations on TV, film, radio, and, of course, the stage. The play centres on friends Jack Worthing and Algernon Moncrieff, who both enjoy a double life with the false identities they have created. They find their double lives intersect when they attempt to get engaged to two eligible ladies, getting tangled in their web of lies along the way.

It’s a story many will be familiar with, and a strong likelihood many will have seen another version of it in the past. The question is how to make this production fresh and different? What could you possibly do to The Importance Of Being Earnest that hasn’t been attempted in the last 130 years? Step forward, Max Webster.

In his direction, Webster has created an exhilarating production of a classic, retaining all of the elements of the story, while introducing a few modern touches in moderation. The juxtaposition of these contrasting elements is all part of the charm and, ultimately, the success of it. If you thought what was missing from Oscar Wilde’s story was a sprinkling of hits from Cyndi Lauper, Bruno Mars, and James Blunt, this is certainly the production for you.

In every single beat of the show, Max Webster has considered the comedy to a painstakingly specific detail. Whether it is finding the best way to gain a laugh from Wilde’s original writing, his new twists on the language used, or amplifying the comedy in the overall situation, Webster’s direction never falters in its creativity. The result is a show that exudes pure joy from start to finish - this is a production that will make you smile in the opening moment, and will guarantee it doesn’t leave your face until long after the curtain has fallen.

The loud and proud nature of this production is clear to see in Rae Smith’s striking design, both in the sets and the outlandish and extravagant costumes the cast adorn. Three distinctly different sets fill the stage, each more impressive than the last. The attention to detail in each of these three sets gives Webster plenty to play with in terms of comedy, whether a character is looking too closely at a naked statue, or trying their best to get up the sloped garden. Jon Clark’s lighting and Carrie-Anne Ingrouille’s movement both ensure the stage is always full of life and never dull to watch, even for the briefest of seconds.

One of the most memorable aspects of last year’s production was its sensational cast. So it came as a surprise that the West End transfer would feature an entirely new cast. The fact the show remains every bit as fabulous this time around is a testament to not only them, but how phenomenal this production is, regardless of who is taking on the roles.

Olly Alexander might be best known as a singer from both his solo career and work in Years & Years, but he has cut his teeth in acting multiple times before, most notably in the incredible series It’s A Sin. Ncuti Gatwa may have had some big shoes to fill, but Alexander does so effortlessly, delivering an exuberant and faultless characterisation of Algernon Moncrieff and leading the production with ease. To quote one of his songs, Olly Alexander shines in this show.

The other bit of casting that certainly raised an eyebrow or two was Stephen Fry as Lady Bracknell. Certainly not a fit I’d expect to see this year, but it oddly works. Fry performs the role well, balancing an authenticity that doesn’t belittle the character to make her a pantomime dame, while giving a knowing wink to the audience at the silliness of it all. Other recognisable names in this production are Hugh Dennis as Reverend Canon Chasuble and Shobna Gulati as Miss Prism. Though their stage time is much more limited than the others, they certainly deliver memorable turns in their brief appearances.

Nathan Stewart-Jarrett gives a fantastic performance as Jack Worthing, growing stronger as the show progresses until he completely dominates in the play’s final scene. His partnership with Olly Alexander’s Algernon creates a great dynamic, with the extended scene between the pair as they “cover a scene change” a testament to their chemistry. Kitty Hawthorne is the other actor Stewart-Jarrett shares the stage with most, delivering an over-the-top but loveable turn as Gwendolen Fairfax.

Though the entire cast impresses in their own right to create a consistently high standard throughout, there are two huge standouts in the cast, and they might not be the ones you’d necessarily expect. Jessica Whitehurst is a revelation as Cecily Cardew - absent in Act One, she more than makes up for it in Act Two, owning the stage from her very first appearance. Naturally hilarious, she breaks away from the original text more than the others and even breaks the fourth wall in a brilliant characterisation. Her sparring match with Hawthorne’s Gwendolen provides possibly the strongest moment of the entire play in a scene that is pure comedy gold, leaving me longing for a spin-off show with these two stars.

The cast is completed by the other standout performer, Hayley Carmichael in dual roles of Lane and Merriman, the butlers of both Algernon and Jack. As Lane, Carmichael is fairly humorous, but when she becomes Merriman, a whole new level of genius is unlocked. The mannerisms and overall confused nature are played perfectly, in a performance that is always scene-stealing. Something major may be going on with other cast members on stage, but your eye will always be drawn to Carmichael, knowing that hilarity is never far behind whenever she appears.

The Importance Of Being Earnest at National Theatre was one of my highlights of 2024, and this West End transfer at the Noël Coward Theatre is sure to follow suit. As much as I loved it last year, I’d argue it might be even better this time around, with several tweaks to the staging and some outstanding new cast members making this a delight from start to finish. To quote another show that played this same theatre several years ago (Half A Sixpence), you really can’t beat the joy of the theatre, and this production of The Importance Of Being Earnest is as joyous and jubilant as it gets. You’ll be hard-pushed to find another show quite as joyful as this one, and in a time where joy can be in short supply, this couldn’t have come at a better time. Whether you are an Oscar Wilde purist or are not usually a fan of his works, there is something for everyone here, and if you manage to sit through it without laughing, you may want to check you haven’t left your sense of humour in a handbag.

The Importance Of Being Earnest plays at the Noël Coward Theatre until 10th January 2026. Tickets from https://allthatdazzles.londontheatredirect.com/play/the-importance-of-being-earnest-london-tickets 

Photos by Marc Brenner