THE IMPORTANCE OF BEING EARNEST Shines At The National Before Cinematic Release

The curtain has fallen on THE IMPORTANCE OF BEING EARNEST at London’s National Theatre, but lovers of Oscar Wilde’s enduring comedy needn’t fret. After concluding its limited engagement on 25 January, this spectacular reimagining—led by Sharon D Clarke as the formidable Lady Bracknell—will soon make its way to cinemas worldwide. If you missed the show at the National, or simply want to relive the experience, you can catch it on the big screen from 20 February as part of National Theatre Live. It’s one of those rare moments in theatre when you can truly have your cake (or cucumber sandwich) and eat it too.

Wilde’s Wit Reborn

Oscar Wilde’s 1895 masterwork is universally regarded as one of the greatest comedies in the English language. With its razor-sharp wordplay and delightfully absurd plot twists, THE IMPORTANCE OF BEING EARNEST has remained perennially popular, featuring in countless revivals across the globe. But few productions have given it a visual and stylistic overhaul as significant as the one staged by director Max Webster at the National Theatre.

This new approach maintains Wilde’s effervescent dialogue and swirling comedic energy while adding fresh layers to the satire. Those who have seen the production say its energy crackles from start to finish. There’s a heightened emphasis on physical comedy, courtesy of movement director Carrie-Anne Ingrouille and physical comedy advisor Joyce Henderson, that transforms the usual witty banter into a full-bodied theatrical experience. Against the resplendent sets and costumes designed by Rae Smith, the ensemble conjures an opulent world where cynicism and sincerity dance cheekily side by side.

A Lady Bracknell For The Ages

One of the biggest talking points from this production has been Sharon D Clarke in the iconic role of Lady Bracknell. Clarke, renowned for her deeply moving performance in DEATH OF A SALESMAN, brings a commanding presence to Wilde’s famously imperious character. Though many have played Lady Bracknell as stony and intractable, Clarke delivers a performance that critics and audiences describe as surprisingly layered. She still channels the character’s trademark pomposity, but also finds moments of vulnerability that hint at a woman with much more going on behind her carefully constructed facade.

In a piece that thrives on comedic chaos, Clarke’s Lady Bracknell becomes the pivot around which everyone else flails in their romantic follies. It’s a portrayal that matches the larger-than-life set design and energised direction, and it is one that visitors to the cinema screening will want to watch closely for subtle nuances. The National Theatre’s reputation for casting bold, imaginative actors in classic roles holds firm here, with Clarke adding yet another triumphant feather to her cap.

A Stellar Cast In Full Flow

Clarke’s mesmerising performance is far from the only highlight. Ronkẹ Adékọluẹ́jọ́, known for her role in BLUES FOR AN ALABAMA SKY, injects a dynamic mix of flirtation and earnestness as Gwendolen Fairfax—one of the two female leads searching for her very own “Ernest.” Meanwhile, Eliza Scanlen (LITTLE WOMEN) embodies Cecily Cardew with a youthful exuberance that gently mocks the naive pastoral heroine trope.

On the gentlemen’s side, audiences have been particularly thrilled by Ncuti Gatwa—fresh off his transformative roles, including DOCTOR WHO—who plays Algernon Moncrieff. Gatwa’s comedic flair and bold physicality breathe new life into Algy’s perpetual hunger for muffins and mischief. Opposite him, Hugh Skinner (W1A) portrays the rather flustered Jack Worthing, the man who is, after all, at the very centre of Wilde’s comedic tangle of mistaken identities.

The comedic stakes rise higher with Julian Bleach (DOCTOR WHO) in a dual performance as both Lane and Merriman, delivering some unexpectedly delightful turns in two very different servant roles. Richard Cant steps in as Reverend Canon Chasuble with a benign gravity that contrasts hilariously with the romping chaos around him, while Amanda Lawrence (STAR WARS: EPISODE IX – THE RISE OF SKYWALKER) transforms Miss Prism into a figure of secret passions and comedic surprises.

NT Live Screenings

It’s rare that a theatre production runs for such a limited time, wraps up, and then almost immediately gains a second life in cinemas. Yet that’s exactly what’s happening here, courtesy of National Theatre Live. From 20 February, viewers around the world will be able to see this production in a local cinema—often complete with behind-the-scenes glimpses and interviews that give insight into the creative process.

For theatre lovers, NT Live screenings can be as close as you get to a genuine front-row seat at the National. Multiple cameras capture the show in the highest detail, ensuring that you catch every sly glance, comedic pause, and subtle nuance in the actors’ performances. It’s a testament to how modern technology is transforming theatre, making it more accessible than ever, regardless of geography or budget.

Production Values That Pop

For those who want more than just big names, take note: this revival has some serious visual pizzazz. Rae Smith brings a design concept that is part 19th-century drawing room, part whimsical dreamscape, with just a dash of rebellious flair. The pastel-hued palette evolves from scene to scene, echoing the shifting comedic mood. Wilde’s comedic masterpiece might once have been associated with wainscoted walls and imposing Victorian set pieces, but here, there’s a sense of space that feels airy, fluid, and distinctly modern.

Lighting by Jon Clark heightens the production’s sense of playfulness, while Nicola T. Chang’s sound design ensures each witty line bounces crisply off the walls. The show also boasts an original musical score from DJ Walde, reinforcing its contemporary vibe while still tipping its hat to the show’s historical roots. This synergy between different design elements allows the comedic elements to shine without straying from the opulent vibe one expects from an Oscar Wilde high society extravaganza.

Physicality And Perfectly Timed Gags

Beyond the sets and costumes, the comedic timing of the entire cast stands out. That’s where the contribution of movement director Carrie-Anne Ingrouille and physical comedy advisor Joyce Henderson comes in. Wilde’s text remains as sharp and witty as ever, but this production also explores how movement and physical expressions can elevate the humour. Simple jokes about cucumber sandwiches or hidden diaries take on another layer of hilarity when combined with well-executed pratfalls, double-takes, or comedic chases.

It’s a big reason why the show’s run at the National was consistently met with roars of laughter from the audience. In traditional stagings, EARNEST can sometimes feel too reliant on its language alone. Here, it’s a full-scale comedic experience that hits you from multiple angles: visually, verbally, and physically.

In addition to the big names on stage, the production owes its success to a dedicated creative team. For instance, the hair and make-up design by Adele Brandman brings the characters’ eccentricities to the forefront, ensuring that each face has just the right aesthetic quirk to match Wilde’s playful script. Meanwhile, the presence of an intimacy coordinator, Ingrid Mackinnon, highlights the show’s commitment to modern rehearsal-room practices, prioritising cast comfort and authenticity in moments that are physically or emotionally vulnerable.

The behind-the-scenes camaraderie is also evident in how well each performance meshes with the next. Credit goes to casting directors Alastair Coomer and Chloe Blake, who assembled a group of versatile actors with obvious chemistry. The result is a comedic ensemble that thrives on swift banter and effortless interplay, a crucial ingredient for Oscar Wilde’s hallmark style.

One Last Toast To EARNEST

THE IMPORTANCE OF BEING EARNEST is arguably Wilde’s crowning comedic achievement, satirising Victorian social customs in a manner so artful that the humour still resonates over a century later. Yet it’s easy to take the play for granted, as “just another classic.” This National Theatre revival reminds us that EARNEST can be both a snapshot of a bygone era and a living, breathing work that evolves with each new staging.

At a time when theatre continues to explore fresh interpretations of beloved texts—often unearthing contemporary relevance in older stories—this production proves that EARNEST can speak to modern audiences without sacrificing its comedic soul. The improbable escapades of Jack, Algernon, Gwendolen, and Cecily might seem superficial, but beneath the comic sparkle lurk universal truths about the longing for identity, the weight of social expectation, and the delight in poking fun at authority.

With the show’s run at the National complete, the cinematic release is the next big event on the calendar. If you’re unable to attend the NT Live screenings in person, keep an eye out for encore presentations or potential streaming opportunities. The National Theatre often partners with cinemas and digital platforms to ensure these productions reach as many viewers as possible worldwide.

In any case, the continuing resonance of Wilde’s humour and the production’s flamboyant design promise an entertaining experience, whether you’re seated in the National itself or munching popcorn in your neighbourhood cinema. And for those in love with the artistry of each behind-the-scenes role—from lighting to movement direction—this revival underscores how a classic text can become something fresh, theatrical, and downright hilarious when guided by imaginative minds.

As Wilde himself might remark, it’s of the utmost importance to enjoy the show while you can—especially when that show is a comedic masterclass at the National. Though the final bow on 25 January marked the end of a triumphant on-stage run, THE IMPORTANCE OF BEING EARNEST is set to enchant a global audience in cinemas this February. With a production brimming with lavish design, inventive physical comedy, and a cast unafraid to mine new depths of hilarity, it’s the perfect treat for both seasoned theatre-goers and newcomers eager to see what all the fuss is about.

So find yourself a ticket, settle into your seat, and get ready to laugh. Wilde’s comedic brilliance remains timeless—and, in Max Webster’s hands, it becomes a splendid celebration of style, silliness, and earnestness in every sense of the word.

Curtain’s Call And Cucumber Sandwiches

As the lights go down on this fresh spin of Wilde’s delightfully biting play, one can’t help but reflect on the enduring allure of Victorian-era wit fused with modern theatrical magic. The National Theatre’s production has shown that even a centuries-old social satire can spark fresh dialogue and big laughs, resonating in a world that’s drastically changed since Wilde first penned it. So whether you’re in it for Sharon D Clarke’s commanding performance, the effervescent physical comedy, or simply the sweet indulgence of another Wildean romp, there’s no better time to appreciate the improbable importance of truly “being earnest.” Grab your programme, don your best theatre-going attire, and prepare to discover how relevant—and ridiculously fun—this classic can still be.