“The Importance of Being Ernest” reviewed by Julia W. Rath

Director Genevieve Corkery has assembled a marvelous set of actors for this comedic relaunch of a play focused on deception and mistaken identities. A smart combination of plot and burlesque and skillful stage direction makes for a lively and entertaining show. This production achieves the fine balance of highlighting the characters’ proclivities for mischief and rambunctiousness while featuring their distinct personalities. In addition, all sorts of gags and physical comedy elements have been included, which only add to the morass and enhance the humor. On top of all this, the actors eat actual food items while in their roles. This not only makes them appear more real and natural but contributes to the show’s hilarity as characters mouth their lines with their mouths full of cake, muffins, and maybe the occasional cucumber.

This is a story about two good friends Jack Worthing (Garrett Wiegel) and Algernon Mongrieff (Gus Thomas), each leading a double life, especially when trying to distance themselves from social entanglements. Early on, Algernon (a/k/a Algie) explains something to Jack which he calls “Bunbury”, which, for him, means pretending to be an entirely different person when in the countryside (as in Hertfordshire) versus when he is residing in London. But apparently both men do the same thing. Jack takes on the name of Ernest when he lives in the city and especially while winning the attractions of a young woman named Gwendolen (Michaela Voit). Gwendolen’s mother is the irascible Lady Bracknell (David Lovejoy), who happens to be Algie’s aunt. Lovingly portrayed in drag, this middle-aged matron is no less complete with her black beard, white pancake makeup, and irritating voice. Lady Bracknell does not want to hear of the mutual affection that her daughter and Ernest have for each other.

The plot thickens when Algie decides to mess up his friend’s life by posing as Jack’s brother, and now he calls himself Ernest too when he visits Jack’s country estate. And there he meets—and woos—Jack’s young niece Cecily (Jasmine Luethy), who happens to be Jack’s ward and just below the legal marriageable age. The play starts out vivaciously with Lane/Merriman, the butler/valet (Mitch Karmis), dancing and waving his feather duster in a silly and provocative way. It is fun to see him letting loose one moment (when his employer is not watching), followed by his becoming remarkably stern and subservient. Other characters include Cecily’s teacher Miss Prism (Gretchen Kimmeth) and Dr. Reverend Chasuble, the rector of Jack’s estate, enthusiastically played by Sara Corkery, who is also the show’s assistant director.

Costumes by Emma Millisor are great, with everyone in white for the most part, with the exception of Jack, who cuts a perfect Sherlock Holmes when he wears his detective hat and smokes his trademark pipe. Many of the dresses appear to be modified wedding gowns, complete with embroidery, stitched-on pearls, and the like.

I loved the scenic design by Tom Fitzmaurice (who doubles as the tech director). He has done wonders with the small stage at Facility Theatre. Cleverly conceived and executed are huge panels on rollers, which, when spun 180 degrees, turns an outdoor environment of bushes and flowers into a formal interior living space with navy blue flowered wallpaper. Shelves complete with books, portraits, and other accoutrements complete the illusion of prosperity. Note that the furniture and props at the onset immediately tune us in to the jocularity of the production, with the brown bottle lying on the floor, the clothes strewn around the room, and the couch and chair pillows in serious need of straightening and fluffing. Then there’s the miniature piano, perched at front, center before the performance begins, and perhaps one of the first sources of laughter. The shifts in lighting throughout, due to the fine work of Eli Green, are ideal, and I was especially enamored with the spotlights being used when various characters speak aloud to reveal their thought process. Plus, a special shoutout needs to be made to Grace Patterson, who serves as both the intimacy coordinator and sound designer.

In all, this version of “The Importance of Being Earnest” is fresh, lively, and joyous with an edge, with all sorts of tweaks that make it funnier than ever. The actors’ performances are warm and heartfelt and nicely overdone when they need to be, with each player better than the next as they form a cohesive whole. And it’s as if the cast has been drawn together to make an audience happy. What is fascinating is how well this story has withstood the test of time. This is probably in large part because the characters are simultaneously exaggerated yet resemble so many people in this world who want to present a false front. Whether you’ve never seen this play before or whether you’ve seen it lots of times already, this is a production not to be missed. Not only is it able to thrill a modern audience, but it would have likely charmed the original theatregoers from the year 1895. If I could, I would have given it six stars: It is one of the best performances I’ve seen all season, and the presentation could not have been done any better!

“The Importance of Being Earnest” is playing through July 26, 2026, at Facility Theatre, 1138 N California Avenue, in Chicago.

Tickets: $35 Adult (or $37.89 online)

$25 Student/Senior (or $27.38 online)

Performance schedule:

Thursdays and Fridays at 7:30 p.m.

Saturdays at 3:00 p.m. and 7:00 p.m.

Sundays at 1:00 p.m. and 5:00 p.m.

For more information and to purchase tickets, visit: https://nodogsinthekitchen.org/.

Special group rates are available. For information, email info@nodogsinthekitchen.org.

The show is held in a wheelchair-accessible first-floor storefront venue.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “The Importance of Being Ernest”.