First published in The Times, Monday October 18 2021
Nineteen months ago, before the pandemic ushered in theatre’s long hibernation, Perth Theatre staged a riotous version of Oscar Wilde’s The Importance of Being Earnest, with five actors tackling the nine speaking parts. This new adaptation of Molière’s comedy, featuring a script by Grant O’Rourke and direction from Lu Kemp, is an even more ambitious test of its ensemble’s versatility, with a trio of performers covering the dozen or so roles.
First published in The Times, Thursday March 5 2020
On paper this gender-swapped version of Bertolt Brecht’s 1940 comedy looks intriguing. The novelist Denise Mina adapts, with the redoubtable Elaine C Smith in the lead and the award-winning Turkish director Murat Daltaban at the helm. Yet while the production features some fine flourishes, there is no escaping the overall sense of a messy and incoherent assemblage.
In the context of Scottish theatre, Molière, the nom-de-plume of Jean-Baptiste Poquelin, the 17th century French dramatist and actor, is pretty much synonymous with Liz Lochhead. The playwright and poet has notched up several adaptations into Scots of the comic maestro’s works, including Tartuffe, Le Misanthrope (rechristened Misery Guts) and L’Ecole des Femmes (updated as Educating Agnes).
First published in The Times, Monday November 2 2015
The last play that Richard Baron directed for Pitlochry Festival Theatre was Oscar Wilde’s The Importance of Being Earnest, in which the director stuck faithfully by the playwright’s credo that seriousness should be hidden beneath a “sincere and studied triviality”. Graham Greene’s black comedy about a vacuum-cleaner salesman who becomes embroiled in espionage is quite the opposite of Wilde. Its complex story and “winds of change” setting may lend it an air of import, but Greene’s exploration of the British secret service and their role in Cuba on the eve of revolution is never more than skin deep.