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Theater review: a musical version of a classic comedy

UW-Whitewater's Theatre/Dance department presents "Ernest in Love." UW Theatre/Dance photo.

Review by Bill Beard

WHITEWATER -- What a wonderful opportunity: You have a chance this week to see a famous classic British comedy, Oscar Wildes "The Importance of Being Earnest," in a clever musical comedy adaptation, "Ernest in Love" presented by the University of Wisconsin-Whitewater Theatre/Dance Department.

Performances are at 7:30 p.m. Thursday, Friday and Saturday, July 22-24 and at 2 p.m. Sunday, July 25.

Academic theatre programs have the wonderful advantage of being able to choose to produce material from all ages and genres, even though the piece may not be well known or a sure fire money maker. Such is "Ernest in Love."

The director, Jim Butchart, active in professional theater since receiving his MFA in 1981, knows this work well, having directed the original play in 2003.

But offering it in a summer stock sort of situation is quite courageous; particularly when not quite sure of who and how many appropriate actors might come to auditions.

Furthermore, he has chosen to do it "in the round", with audience on all four sides; difficult enough with a straight play, but quite daring for a fast-paced, tongue-twisting, British-accented musical.

But the challenge is met. This is a generally excellent cast and an overall successful production, along with being a fine opportunity for all theatre-goers to see something different and very funny.

To begin, Eric Appleton, of the University of Wisconsin-Whitewater theatre faculty, has designed a very interesting setting -- a combination of three major platforms, step units and additional doors and arches for corner entrances.

And the scene changes, affected by cast and crew in dim light but in audience view, work efficiently and quickly, and the final change from London flat to country garden, creates magic.

Props changes are especially clever. Lighting was a bit off on opening night, but I'm sure will be improved immediately. More about costumes later.

The cast is somewhat of a mixed level. There are no great singing voices, however they all sing well enough to handle the charming music and clever lyrics most enjoyably. The acting, too, is generally strong.

The two English "gentlemen" (Jared Blackwelder as Jack Worthing and Nathan Butchart as Algernon Moncrieff) and their aristocratic love interests (Nicole McCarty as Miss Gwendolen Fairfax and Shantelle Szyper as 'little' Cecily Cardew), must carry much of the show.

Certainly the strongest of the quartet are Butchart and Szyper. Butchart's Algernon is spot on, just the right combination of social blue blood and devilish dandy; and Ms. Szypers Cecily exhibits, I think, the best command, not only of the British accent, but also of the Oscar Wilde style.

Also demonstrating command of the language -- that is, understanding sub-text and delivering the lines with precise interpretation -- are Jamie Hollenberger as Miss prism and Zachary Kunde, double cast as both butlers, Lane and Perkins.

Jared Blackwelder, a freshman in his very first college production, was perfectly cast as the handsome, debonair leading man, and will be much in demand as he gets the excellent training and experience which I'm sure this school will give him.

Ms. McCartys Gwendolen and Cole Nelson's stern Dr. Chasuble, were both quite charming and appropriate, but not quite as convincing.

I must take some exception to the interpretation of the role of Lady Bracknell, as portrayed by Jacquelyn Nasby, a graduating senior, whose program bio notes that this must be her first time working with director Butchart.

Her delivery of the fantastic lines given to Bracknell by Oscar Wilde seemed to be almost automaton-like.

This character is a magnificent opportunity to expose the most extreme example of the pompous, deliberately shallow British Grandame. Her faux aristocratic attitude is the source of dozens of brilliantly written one-liners.

Unfortunately, Ms. Nasby either did not understand the wonderful puns and malapropisms, or she did not have enough time to work with the director, because she was otherwise perfect for the casting.

Costumes were a mixture of wonderful and completely inappropriate (another thing which hindered Lady Bracknells success). But on the other hand, some were wonderful, primarily the other females.

In any case, this is a not-to-be-missed opportunity. A chance to see an overall excellent production of an almost-never-produced musical comedy based on an absolutely classic nineteenth century British comedy by a genius playwright.