As a stage director, there are two options when putting on a classic production: playing it safe and creating a faithful adaptation the audience will undoubtedly enjoy, or putting your own spin on it. Personally, I would rather see the latter, and that is exactly what I got with The Importance of Being Earnest.

College fourth-year Mia Richardson directed the production, which took place in the Kander Theater this past week. The second the lights dimmed and Queen’s “Good Old-Fashioned Lover Boy” started playing, I knew that this was going to be Richardson’s version of the play, not Oscar Wilde’s.

The story follows Jack Worthing, played by College third-year Reyna Berry, and Algernon Moncreiff, played by College fourth-year Ned Bannon. Algernon and Jack both take on the identity of Ernest, a man who does not actually exist, as a way of avoiding unwanted obligations. This leads to confusion and chaos as the two men become involved with different women while attempting to maintain their guise. 

The first two acts were the standout of the show. The choreography blew me away; even moments of dialogue felt more like a dance number than a conversation. Every line was thoughtfully delivered in flawless English accents, and the actors’ intention, body language, and facial expressions were on point. The way they took up space and interacted with the audience made the show all the more entrancing.

Bannon was outstanding, stealing every scene he was in, including one where he simply faced a wall. His incredible, over-the-top performance was enhanced by eye-catching costume and makeup design. Algernon was made up to look like a 1980s new wave star, for whom it would be unfathomable to not mix patterns.

A common theme throughout the show was the drag-esque makeup, a perfect way to set a unique tone for this version of the play. Berry also sported extravagant makeup, featuring a dark, painted mustache and so much bronzer that one couldn’t imagine what she actually looked like underneath. Despite the gender-bent casting and the drag king makeup, Berry gave an effortlessly natural performance, making every grand gesture and rehearsed line pronunciation seem completely innate.

Along with fantastic choreography, the director and actors added their own personality to the characters. At the end of the second act, Algernon begins to eat muffins while conversing with Jack. Bannon kept the script’s dialogue, adding an “om” before every bite and pronouncing “muffin” like “mahhfin.” These small changes made this scene one of the highlights of the entire play; it was alterations like these that took the play from good to great.

Another highlight of the show for me was College fourth-year Sebastián Cruz’s performance as Merriman, a servant. Every time Cruz entered the stage with his overly-bowed posture, strained voice, and general annoyance with every other character, the entire audience would erupt in uncontrollable laughter. He stuck with me, despite being a smaller role. 

Due to the imaginative costume and makeup choices of this production, I was excited each time a new character was introduced. Unfortunately, I was disappointed by Cecily’s character. Double-degree third-year Calvin Ray Shawler gave a fantastic performance with a natural air much like Berry’s, but the character design was far from palatable; despite Cecily being discussed as 18 years of age, and Shawler looking it, when the character was introduced, she was dressed up like a toddler. Just based on looks, I would not have thought of Cecily to be any older than 12; this unfortunate characterization made the sexual innuendo accompanying Algernon’s relationship with Cecily quite unpleasant to watch.

Regardless, this production was like a surrealist painting come to life. Richardson did not make just another adaption of The Importance of Being Earnest; they made their version of it, and I am so happy they did. Richardson’s production embraces the ageless universality of Wilde’s comedy and manages to make it even funnier through phenomenal creative choices. I don’t want to see a classic play that does not end in a choreographed dance number to “Don’t Go Breaking My Heart” ever again.