By Jason and Alisha Hagey
Utah Shakespeare Festival’s The Importance of Being Earnest can be summed up in two words: utterly delightful. Earnest is a razor-sharp comedy dressed in charm and chaos. On the surface, it’s a light romp of mistaken identities and romantic mix-ups. Beneath that, Oscar Wilde (Playwright) delivers a biting critique of Victorian society and its snobbery, moral pretenses, and obsession with “seriousness.” Earnest is about Jack and Algernon (two bachelors with alter egos they use to dodge social duties), who have their double lives collide. Their carefully spun lies unravel fast – and hilariously – while chasing love. It’s smart, stylish, and still wildly funny, more than a century later; a play that makes you laugh and then wonder what exactly we mean when we call something “earnest.”
Under Rodney Lizcano (Director), Earnest soars. He clearly loves Wilde’s wit in every line and pregnant pause. The verbal and physical comedy is timed to perfection, bursting with clever detail and bold choices that never feel forced. Scenes are staged with a painter’s eye and a comedian’s instinct, turning chaos into choreography. Lizcano’s vision is hilarious. You get a comedy that’s as polished as it is uproariously funny.
Rob Riordan (Algernon Moncrief) and Christopher Joel Onken (Jack Worthing) explode as two sides of the same satirical coin: mirror images of Victorian hypocrisy, each rebelling in a polished, hilarious way. Their banter crackles, their pretenses tumble, and in the end, their “earnestness” proves as made-up as their names. At his core, Algernon is a satirical portrait of the idle rich, but Riordan gives him such effervescent energy that you can’t help but be drawn in. Onken masterfully molds Jack into a delightful paradox: he is at once the serious straight man and the amusing comic, genuinely sincere yet spectacularly ridiculous. Together, they’re a brilliant blend of mischief and charm.
When Katie Drinkard (Gwendolen Fairfax) and Valerie Martire (Cecily Cardew) meet head-on, sparks fly – in the best way. What starts as a rivalry between them soon softens into something closer to a reluctant friendship, revealing how much they have in common. Not to be outdone by their male counterparts, Drinkard and Martire don’t just keep pace with the men around them; they often steal the spotlight, landing the sharpest lines, the best timing, and the most knowing glances. They turn their moments into some of the most memorable.
With incredible timing and line delivery, Sarah Shippobotham (Lady Bracknell) is larger than life. Her Lady Bracknell is formidable, of course, but full of dominating charm that makes her a Grand Dame of the highest snobbish order. Shippobotham doesn’t just play the role, she commands it, wielding every syllable like a finely honed weapon. Her entrances are events in themselves, and her reactions, often delivered with the subtlest arch of an eyebrow or a perfectly timed pause, draw laughter as much from what is unsaid as from the lines themselves. She grounds the character in a way that heightens her humor while capturing the ridiculousness of her strict social standards.
With perfect delivery and stumbling affability, Melinda Parrett (Miss Prism) and Frank Oden (Rev. Dr. Chasuble) are the best versions of these characters imaginable. With understated charm, Parrett and Oden are the perfect foil to the quick wit of the main characters. They both play sincerity, giving them a natural and light humor, reveling in the awkwardness in a way that feels genuine. They have incredible chemistry.
Not to be ignored is Luke Sidney Johnson (Lane/Merriman). He is supersillious, he is a Jeeves, and he is fantastic as Lane and Merriman. He is especially delightful as he goes along with the bit about the cucumbers not being available.
Visually sumptuous, Jo Winiarski’s (Scenic Designer) set gives so many options. It’s a playground for the actors and director, and a treat for the audience. Whether in Algernon’s home or Jack’s country estate garden, there is always something new to take in and enjoy. Winiarski has a way of making her sets live larger-than-life existences without completely going into farce. She imbues her designs with a whimsical grandeur that never tips into caricature.
Bill Black (Costume Designer) is a marvel. They create such worlds of character with pattern and texture. Lady Bracknell’s dress alone becomes the visual connection to all other characters on stage, with details like putting on specific buttons on the back of her bodice (not to mention the exquisite lining of Jack’s pockets in his windowpane suit, which are a lovely detail – the tailoring was next level).
Pitch perfect is Scott O’Brien (Sound Designer/Original Music Composer). They punctuate the humor and pathos with just the right notes. The tuba is an especially lovely touch playing us in after intermission. It harkens back to the idea of small-town bands with their well-meaning, dedicated, and often out-of-tune musicians.
From beginning to end, USF’s The Importance of Being Earnest is a pleasure. Whether it’s the details in the costumes to the finely designed set, every piece comes together to create a world that is both visually appealing and fulfilling. Wilde’s razor-sharp wit shines thanks to the clear direction, which also creates room for warmth and whimsy. Seeing a classic handled with such love and grace, where tradition is respected without ever becoming oppressive, is a pleasure. The result is that Earnest seems new, lively, and absolutely enchanting, a veritable ode to comic genius and theatrical skill.
Utah Shakespeare Festival presents The Importance of Being Earnest by Oscar Wilde
June 21 – October 4, 2025
35 S 300 W, Cedar City, UT 84720
Randall L. Jones Theatre
Tickets: $40 – $85
800-PLAYTIX or 866-962-9897
Ticket Office Hours:
Performance Days: 10 am-8 pm, with phone service ending at 7 pm
Non-performance Days: 10 am-5 pm, Monday through Saturday
Utah Shakespeare Festival
Utah Shakespeare Festival ‘Earnest’ Site
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Child/Student Discount
Children ages six to eighteen, and students of any age older than six with a valid student ID or proof of student status can receive a discount of $10 off any ticket. This is available online or through the Ticket Office
Content Advisory
A light-hearted comedy of manners, offering a satirical take on the norms of Victorian society. This play is suitable for all audiences, and explores the themes of class, deception of double lives, and romantic relationships..
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