Review: "The Importance Of Being Earnest" Janus Theater, Elgin IL Ends 8/28

A few items of business:

1. In the comments from the last post, I received the following: "I know that you love "community theater" from both the participation and audience standpoint. Your blog could do a great service by also announcing each week what shows are out there to be seen and where, even though you may not be doing a review. I often get annoyed that sometimes it is not the easiest thing to find out what shows are being done from week to week. As you seem to have "your ear to the ground" and get information about a lot of productions, your mention of them would do community theater a great service."  That’s not a bad idea.  I also have a hard time finding information about shows, and rely on different resources like greenroomonline.org and theatreinchicago.com (which is how I learned about The Hot L Baltimore in Chicago Heights, the subject of my next review appearing tomorrow).  If anyone knows of a source providing this service, please let me know.  I will consider doing it, but it is a matter of time.  I need to find a calendar gadget that will work with this blog that will be easy to maintain, given the fluid nature of the information.  Most importantly, I need the information.  There are many theatres out there with many schedules.  Taking the time to gather it all is overwhelming.  I’m sure there are theatre companies out there of which I've never heard.  I know most of the ones in the western suburbs, since that is where I live.  But I would want to include all of Chicago and the surrounding area.  I’m trying to do that through the reviews.  Last year, I reviewed shows in Highland Park and Bolingbrook and Joliet.  This past week I saw a show in Elgin and Chicago Heights.  This week I’m seeing something in Elgin and Lisle and at my favorite storefront theatre in Chicago.  And there are other productions going on.  The events calendar will only be as good as the information I receive from the theatre companies. They would have to add me to their “press release” list.  I won’t know about their show until they send it to me.  In other words, I won’t pro-actively seek it out.  If they want to be on the calendar, they need to indicate so by sending me the information. I also think it needs to come from the theatre, not a cast member, or relative or friend.  I think that’s fair.  I can then cull out the cogent information and put it on the calendar.  I will look for something that will work with the blog.  Let your theatre companies know that I’m willing to do this, and it’s something that can be up and running by the start of most theatre seasons in mid-September.
2. I also received this comment: "Could you do a review of Jedlica Performing Arts in Cicero's production of "Man of La Mancha"? I'm not involved and I can't see the show myself but I'd love to know what you thought about it. Promise to reimburse you your cost."  This addresses a number of items.  First, I didn't know there was a production of this show going on, which further demonstrates a need for a calendar of events as discussed above.  Second, there are only two performances left, so going to review a show on its last weekend doesn't make sense.  I normally won’t review a two-weekend show unless I know I can get a review posted before the start of the last weekend.  The promise to reimburse my cost is a nice thought and brings me to my last item of business...
3. I am changing my policy on comp tickets.  It’s explained in the recently updated “start here” pages.  Basically, the new policy is: If the theatre gives a comp ticket to reviewers, I’ll accept it to help defray other costs.  In return, I promise to have my review posted before the opening of the next weekend.  The comp will not affect my tone.  It will only prioritize my postings.  This doesn't mean that I won't review shows I have to pay for.  It's just that those who have asked me to review will get higher priority on my list of getting the review posted.

So, on to the review:

Full disclosure:  I received a comp ticket.  Also, I directed Jocelyn Adamski in a production earlier this year.

The Importance Of Being Earnest by Oscar Wilde is considered a classic.  And rightly so.  For more information about the play and playwright, go here.  It is also, by definition, a farce:  a light, humorous play in which the plot depends upon a skillfully exploited situation rather than upon the development of character.  So, while it is not of the slapstick, door-slamming variety, it is a farce nonetheless.  Its success relies on ridiculous situations, silly social manners, trivial assumptions and clever wordplay;  all of which need precise timing to make them crackle with excitement.  Unfortunately, what I witnessed opening night at Janus Theatre missed the target.  Not by much, but enough to keep it from being a very good production.

Overall, the show suffered from a lack of energy and playfulness. Pacing seemed a problem at times, and humor was lost due to faulty timing.  One of my notes during Act 1 was, “Everything is moving through molasses.”  At least, that’s how it felt.  The other element that was missing was honesty.  A strange term to use in a farce, but it has to do with the performance of the actor.  The characters portrayed need to feel real.  Someone once told me, "Farce is reality plus one."  Rather insightful given who told it to me.  My feeling is I don’t want to see the work - I only want to see the result of the work.  I don’t want to be put in a position where I ask, “Why did he/she make that awkward choice as an actor?”   I should be able to just accept it because it feels honest.  Seeing the acting is seeing the pretense and makes the experience as an audience member less satisfying.

Jack is portrayed by Dennis Edwards, and Algernon is played by Corey Noble.  They are gentry with epicene movements and very little moral architecture, as is expected.  Noble appeared very comfortable and committed in his charming portrayal.  On the other hand, Edwards seemed disconnected and not at all confident.  His character felt forced, as did his actions.  For example, in the beginning of the show, his character picks up a decorative pillow and holds it awkwardly, only to throw it at Algernon to emphasize a point.  But it felt fake, as if the only reason he did it is because his director told him to do it.  There was nothing driving his action to make it feel real.

I had similar issues with Gwendolyn as played by Lucy Zukaitis.  Most of what she did was posturing, which fits the character, but not the actress.  Her posturing felt forced. I didn't glean any honesty from her as an actress. And when Gwendolyn and Jack had scenes together, there was no connection or chemistry between them.  Yes, the characters are jejune, but it needs to be honest for us to accept it.  It's the difference between seeing them act at being shallow and seeing them be shallow.  Jose DeJesus plays two different menservants and either squandered an opportunity to create two memorably distinct characters, or was never pointed in that direction. 

There were some good performances that need mentioning.  Patricia True and Brad Davidson brought excitement and energy to Act 2 with their interpretations of Miss Prism and Rev Chasuble.  They worked well off each other and made a delightful couple. Brian Rabinowitz does a nice turn as Lady Bracknell, bringing energy and life to Act 1 at a time when it was waning terribly.  I would have preferred that he not use the falsetto voice because, at times, it hampered the rapid-fire wordplay the character often engages in.  And it is an element of artifice that was unneeded.  I was hoping for something more along the line of Charlie's Aunt.  But overall, he did a nice job, honoring the tradition of having a man play that character and created quite a formidable Lady.


The highlight of the evening was the performance by Jocelyn Adamski as Cecily.  She captured the essence of these farcical creatures beautifully and was fully believable.  She kept in the scenes, unlike some of her fellow cast members who occasionally darted glances at the audience.  Her energy brightened each scene she was in, driving them forward and her movements were motivated rather than directed.   Mostly, she commanded our attention, which some of the others were in danger of losing.


So, while there were performances that shone brightly, there were others that sapped the energy out of scenes.  And, because I found myself not fully engaged in the show, I started noticing things and asking myself questions.  Such as, "Why are they using that bell, which can't be heard in another room to summon a servant?  "Why are some characters breaking the 4th wall and directing asides to us when it's not written that way?  Did the director Terry Domschke think this added a needed dimension to this classic?" "Why does Act 3 feel under-rehearsed?"  I shouldn't find myself thinking these things.  My eyes and mind should be glued to the stage.


It's a wonderfully witty play.  This production just needs polishing to give it the performance the show deserves.  Still in all, it was entertaining.  And the performance of Adamski and a few others tip the scales to "favorable."


Is it worth the price of admission?  A conditional yes.


For more information and to reserve tickets, go to the Janus website.