Oscar Wilde’s ‘The Importance of Being Earnest’ is nothing if not a recognisable classic. Witty, irreverent and built on mistaken identities & social hypocrisy, it’s a timeless, legendary piece that would be hard to get wrong.

This latest staging, directed by Max Webster, gives Wilde’s story a vibrant, flamboyant makeover that leans into its queer subtexts and satirical absurdities. It’s a brave reimagining which hits the spot occasionally but it’s the stellar cast which make this production shine.

Stephen Fry’s show-stopping performance as Lady Bracknell is a joy to watch and he lights up the stage every time he appears. Dressed fully in sophisticated drag, Fry’s ‘Lady Bracknell’ is the real highlight as his stage presence commands our attention and we hang on to his every word. Beautiful diction, crisp delivery and impeccable comic timing, it’s a perfect and faultless performance in which he lets Wilde’s language do the talking and lifts his words easily off of the page.

Olly Alexander is the mischievous and charming Algernon Moncrieff. As soon as the curtain rises to his pink dress, we know we’re not in for a traditional Victorian affair. He brings playfulness, charisma and a cheeky spark to proceedings throughout.

Kitty Hawthorne’s ‘Gwendolen’ and Jessica Whitehurt’s ‘Cecily’ are outstandingly joyous. Their hilarious facial expressions and delightful natural comic ability add such warmth to the piece. There should also be a notable mention to Hayley Carmichael who brings wonderful physical comedy and a slightly absurd edge to the production in her servant roles of ‘Lane’ and ‘Merriman’. Most of her exits were greeted with warm applause from the packed Noel Coward Theatre audience showing that even if her stage time is quite minimal, she squeezes every bit of comedy she can.

Rae Smith’s set and costume design is simply gorgeous. Sumptuous dresses and colourful suits add to Max Webster’s camp and flamboyant adaptation. The finale is a sight to behold which wouldn’t feel out of place at the Palladium Panto as the cast bow and dance in huge floral costumes and headdresses to Nicola T. Chang’s blasting soundscape.

It’s possible that the over-the-top nature of the production means we lose some of Wilde’s razor-sharp language and clever wit. The choice to scatter modern song references occasionally throughout is slightly jarring and sparks confusion on when exactly the piece is set. There’s also the odd choice of breaking the fourth wall by some characters and not others, making it more pantomimic than it should be and taking you away from the world they’re creating.

However, the two hour 45 minute running time flies by and it’s a triumphant reimagining of a sometimes subtle and demure piece of writing. Wilde has certainly gone a little Wild here.

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