Review: THE IMPORTANCE OF BEING OSCAR, The Park Theatre

Marc Brenner

The piece begins with a voice from that past, that of Micheál Mac Liammóir, who wrote and first performed this play in 1960, directed by his partner Hilton Edwards. Highly influential in their day, both are almost forgotten now, with this portrayal of Wilde the main cause of their names being mentioned. Even after hearing just a snatch of that powerful voice it is clear that this was a masterful performance, as those of us who have been around long enough to have seen it will attest. A brave decision, then, to begin the performance with a reminder of that voice. 

Simon Callow made his mark with the play in the 1990s but in recent years it has been seen in this production featuring Alastair Whatley and directed by Michael Fentiman. It’s a deft, absorbing and thoughtful presentation of the play if not quite as powerful as some of its forbears. The high stage creates a small circular playing area with a vertical circle, perhaps a mirror, behind. This confines the action, perhaps symbolically, and occasionally restricts. Designer Madeleine Girling creates a striking picture but, in the Park Theatre at least, the majority of the audience are left peering upwards at the high stage and wondering why the rest of the playing area is not used. 

Whatley is deeply familiar with this text and defines the various characters through hints and subtle changes rather than attempting major changes of voice or accent. This sometimes leads to momentary confusion about who is speaking, but this is quickly resolved, often by his looking from one side of the stage to the other, which can become wearing. In this small theatre, even the small radio mic he is wearing is very obvious. It is presumably necessary in order to add the occasional audio effect but it seems out of place. 

The first half features extended sections of Lady Windermere’s Fan, The Picture of Dorian Grey and The Importance of Being Earnest, the latter in particular very familiar since it is the handbag scene that features. Some of Wilde’s early poetry is also included though Whatley is less effective with these, the rhymes over-emphasised so that the verse seems to lean into doggerel at times. 

The second half, change of setting indicated by a plain stool replacing the ornate table lamp, is less familiar to some and all the better for it. The general narrative of Wilde’s downfall is well known, but is covered in more detail through the words of those around him, including his friend Ada Leverson (the Sphinx), as well as a powerful reading of De Profundis and, to end the evening, the Ballad of Reading Gaol. Key moments are highly effective, such as the description Wilde gave of being a public pilloried figure on the platform at Clapham Junction. More than one audience member will have travelled by way of that station recently and may have seen the plaque that now marks the spot.

It’s an important story that should be remembered, alongside the plays that have themselves survived despite the treatment received by their author. Whatley gives a sympathetic portrayal of Wilde which mainly convinces, and Fentiman’s production is enhanced by Ben Jacobs’ lighting and the occasional underscoring from Sound Designer Barnaby Race.

The Importance of Being Oscar is the definitive account of the downfall of a great man, and deserves to be seen, especially when approached as intelligently and carefully as it is in this production.

***Three Stars

Reviewed by Chris Abbott

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