Displaying items by tag: Oscar Wilde

It is possible that Oak Park Festival Theatre’s production of Oscar Wilde’s 1895 “trivial comedy for serious people,” The Importance of Being Earnest, was suffering from some opening night jitters and that the actors will settle in and trust the verbal comedy in the script, but on this beautiful evening under the stars, there was too much mugging and nudging going on. Nevertheless, Wilde’s play, about two young men, Algernon (August Forman) and Jack (Chad Bay), who have both invented alibis - Algernon an invalid friend named Bunbury in the country and Jack a degenerate younger brother in town--to allow them to indulge their socially questionable whims, leading to the difficulty of having to explain why neither is Ernest, is still funny. And, despite the excesses on display, this staging still holds many delights for fans of Wilde, verbal comedy, and, particularly in the second act, some smartly choreographed slapstick. What is missing from much of the evening is earnestness. Many of the actors seemed to be in search of motivation and the stakes that propel them through this admittedly effervescent frolic.

Working with a talented cast of regional stage actors, director Kathryn Walsh has not created a secure world for her creative team to inhabit, resulting in an often funny but not dynamic production, with shrill delivery and broad physical comedy undermining human-scale relationships. The tone and gestures of the various characters range wildly, as do the design elements. The whimsical, vaguely Victorian costumes, while fun, support the cartoonish elements of the production, while not always clearly defining the characters. The lighting design by Devin Cameron is appropriately warm and effectively saturated but also deploys unnecessary flourishes to support the comedic business. The scenic design by Evan Frank likewise captures the locations of the play and allows the actors to find many levels - literally - as they shift allegiances and stratagems. Justin Cavazos’s sound design and compositions lend unobtrusive support, except for one hilariously developed cue that draws attention to itself in a good way. Overall, Walsh’s production would be better served by trusting the script and the audience, especially in the first act, when we are getting to know the characters and their desires. That said, both Walsh’s direction and her cast fully commit to the amorous and combative collisions at the beginning of the second act, which showcases the physical and verbal comedic gifts of all to uproarious effect.

As part of the Oak Park Festival Theatre's 51st season (left to right) August Foreman, Barbara Zahora, Aurora Pennepacker, Drew Bos, Sonia Goldberg and Chad Bay in The Importance of Being Earnest at Austin Gardens.

One of the things that makes The Importance of Being Earnest work is the moral certitude that the characters bring to their pronouncements, no matter how absurd they are or whether their actions correspond to their words. This certitude also grounds the characters in their truths and forms the foundation of their interactions, but too often the actors are checking in with the audience to see if they got the joke (especially when many of Wilde’s observations still resonate) or negotiating with the lines. By the middle of the second act, the characters begin to define themselves, but much opportunity for connection is lost in the first. August Forman as Algernon flings himself into the role with wild abandon and invites the audience along for the ride. An adept comedian, Forman’s strategy often pays off but undermines Algernon’s insecurity as he balances his needs with society’s demands. All that aside, his Algernon’s compulsion for muffins is not to be missed. As his friend Ernest, who is actually Jack, Chad Bay does a good job of playing the less self-aware of the friends and playing up the character’s completely unjustified horror at Algernon’s embrace of Bunburyism. As Jack’s romantic interest, and Algernon’s cousin, Gwendolen, Sonia Goldberg at times overplays her character’s pretensions, some of which Gwendolen is still struggling to master, making Goldberg’s characterization overwhelmingly self-possessed at times. Conversely, Barbara Zahora lacks the imperiousness of many Lady Bracknells, giving the character an interesting warmth, but making her power solely transactional, which could be an interesting choice if it were played more fully. Aurora Pennepacker as Cecily strikes the most effective balance between the verbal and physical comedy, making the most of the opportunities to show Cecily’s willingness to exploit others’ assumptions about her character and her real understanding of her powerlessness without this ability. In Jodi Gage’s performance, Ms. Prism is a refreshingly insightful tutor to Cecily, while doggedly hanging onto youthful romanticism. Gabriel Armstrong is a very youthful Reverand Chasuble, celebrating his sudden relevance in parish life. Drew Bos may be the youngest actor to play the dual roles of Lane and Merriman in a professional production and wisely focuses on the class commentary afforded by the butlers of their respective households. His droll Lane gives Algernon food for thought in Act I, while his Merriman, already suffering from the physical strain of servitude despite his youth, effectively times his long-suffering pauses at each new demand (though Bos may need a visit to a chiropractor after the run). The experienced cast expertly and clearly delivers Wilde’s witticisms, which are always worth revisiting and occasionally resonate with the current social dynamics.

As the run continues, the production will most likely settle in and allow the script to propel the pacing and action more fully, especially in the more expository first act. There is much to appreciate in Oak Park Festival Theatre’s The Importance of Being Earnest, including a smart cast who find both the verbal and physical humor inherent to the play. Director Kathryn Walsh and her cast also explore fresh takes on the characters, some more successful than others, but always welcome. For those unfamiliar with Wilde’s play, this production is a solid introduction.

The Importance of Being Earnest runs in repertory with Hamlet, through August 14, outdoors in Austin Gardens in Oak Park, Illinois. Visit Season 51 | Oak Park Festival Theatre or call (708) 300-9396 for tickets and more information. Note: a number of the actors perform in both Earnest and Hamlet, and Oak Park Festival Theatre is offering discounted tickets for audiences who want to see both.

For the first time in company history, Oak Park Festival Theatre presents two productions in repertory: William Shakespeare's HAMLET and Oscar Wilde's THE IMPORTANCE OF BEING EARNEST.

Though separated by centuries and radically different in tone, both plays explore questions of identity, performance, truth, and societal expectation. Presented on alternating evenings throughout the summer, the productions invite audiences to experience two of the theatrical canon's most enduring works in conversation with one another. 

In HAMLET, Prince Hamlet returns home following his father's death and his mother's swift revenge, only to discover a kingdom haunted by betrayal, suspicion, and revenge. 

In THE IMPORTANCE OF BEING EARNEST, Jack Worthing and Algernon Moncrieff navigate a web of mistaken identities, secret engagements, and social satire as they attempt to win the affections of two very particular women. 

HAMLET

Written By: William Shakespeare

Directed By: Peter G. Andersen

Cast: Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger)

Understudy Cast: Lucas Prizant (Hamlet), Avery Dulak (Laertes), Anya Moeske (Ophelia), Ben Crane (Rosencrantz/Guildenstern), Julia Rowley (Polonium/Gertrude), August Foreman (Claudius/Ghost/Player/Gravedigger), Jamille Calixte (Horatio).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Tessa Huber  (Stage Manager), Chrissy Roy (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Taylor Pfenning (Costume Designer) Duncan Hon (Master Electrician), Trent Jones (Scenic Painter), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: July 1 – August 15, 2026 (previews July 1, July 3)

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

THE IMPORTANCE OF BEING EARNEST

Written By: Oscar Wilde

Directed By: Kathryn Walsh

Cast: August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

Understudy Cast: Gabriel Armstrong (Algernon), Pedro Jimenez (Jack), Olive Gallagher (Gwendolyn/Cecily), Evan Ozer (Merriman/Lane/Chasible), Belinda Bremner (Lady Bracknell), Julia Rowley (Miss Prism).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Chrissy Roy (Stage Manager), Tessa Huber (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Phoebe Boynton (Costume Designer) Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: June 30 – August 14, 2026 (previews June 30, July 2, July 4)

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

The Oak Park Festival Theatre, Oak Park's premiere Equity theatre and the oldest professional classical theatre in the Midwest, today announced the casts and production teams for its Summer 2026 productions of William Shakespeare's HAMLET and Oscar Wilde's THE IMPORTANCE OF BEING EARNEST. Presented in repertory for the first time in company history, the productions run concurrently June 30 – August 15, 2026, at Austin Gardens in downtown Oak Park. 

Though radically different in tone, HAMLET and THE IMPORTANCE OF BEING EARNEST speak to one another in striking and unexpected ways. Together, the productions explore the tension between performance and truth, asking what happens when individuals are forced to navigate the expectations imposed on them by family, society, and power. 

Staged in repertory for the first time in company history, the season invites audiences to experience two master playwrights in conversation across centuries while watching Oak Park Festival Theatre actors tackle radically different worlds of comedy and tragedy throughout the summer. 

Directed by Oak Park Festival Theatre Producing Artistic Director Peter Andersen, HAMLET runs July 1 – August 15, 2026. Called home by his father's sudden death and his mother's swift remarriage, Prince Hamlet finds the court of Denmark transformed–and deeply unsettled. When a ghost appears with a terrible accusation, Hamlet is pulled into a relentless search for truth, testing the limits of loyalty, love, and revenge. 

The cast of HAMLET features Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger). 

Directed by Kathryn Walsh in her Oak Park Festival Theatre debut, THE IMPORTANCE OF BEING EARNEST runs June 30 – August 14, 2026. Jack Worthing leads a double life–one in the country, one in the city–while his friend Algernon Moncrieff has troubles of his own. When both men assume the name "Ernest" to win the affections of two very particular women, a web of mistaken identities, secret engagements, and delightful deceptions begins to unravel. 

The cast of THE IMPORTANCE OF BEING EARNEST features August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

The productions share a repertory creative team including Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager). 

Oak Park Festival Theatre's paid Apprenticeship Program, now in its 16th year, provides an educational, inspirational, and career-broadening experience for post-high school and undergraduate students in theatre arts. This season's apprentices are Archer Bart, Karla Valdez, Emily York, Avery Dulak, Anya Moeske, Jo Selmeczy, Jamille Calixte, Evan Ozer, and Ella Boyden. 

Season Pass packages ($70), which include admission to both productions at a discounted rate, are available now at www.oakparkfestival.com. 

HAMLET

Written By: William Shakespeare

Directed By: Peter G. Andersen

Cast: Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger)

Understudy Cast: Lucas Prizant (Hamlet), Avery Dulak (Laertes), Anya Moeske (Ophelia), Ben Crane (Rosencrantz/Guildenstern), Julia Rowley (Polonium/Gertrude), August Foreman (Claudius/Ghost/Player/Gravedigger), Jamille Calixte (Horatio).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Tessa Huber  (Stage Manager), Chrissy Roy (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Taylor Pfenning (Costume Designer) Duncan Hon (Master Electrician), Trent Jones (Scenic Painter), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: July 1 – August 15, 2026 (previews July 1, July 3)

Press Opening: Sunday, July 5, 2026

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

THE IMPORTANCE OF BEING EARNEST

Written By: Oscar Wilde

Directed By: Kathryn Walsh

Cast: August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

Understudy Cast: Gabriel Armstrong (Algernon), Pedro Jimenez (Jack), Olive Gallagher (Gwendolyn/Cecily), Evan Ozer (Merriman/Lane/Chasible), Belinda Bremner (Lady Bracknell), Julia Rowley (Miss Prism).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Chrissy Roy (Stage Manager), Tessa Huber (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Phoebe Boynton (Costume Designer) Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: June 30 – August 14, 2026 (previews June 30, July 2, July 4)

Press Opening:  Tuesday, July 7, 2026

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

Chicago is well-known for its hidden gems: speakeasies hidden behind working laundromats, restaurants located down darkened alleyways, and even theatres located in basements and converted houses. One such innocuous playhouse resides in a small, transitioned home studio, just west of the Uptown neighbourhood. Like any hidden gem in Chicago, looks can be deceiving, and the hyper-intimate 25-seat theatre that is Open Space Arts is playing anything but small as they put on the Chicago Premiere of DORIAN.

DORIAN is a thrilling, queer-forward remix of Oscar Wilde’s timeless tale, brought to life in this bold and visually stunning stage adaptation by Phoebe Eclair-Powell and Owen Horsley. In a world obsessed with beauty and power, what happens when someone is given the chance to remain perfect—forever? This modern interpretation dives headfirst into vanity, desire, and the danger of refusing to age, illuminating the darkest corners of our obsession with self-image and fame. DORIAN fuses gothic horror, biting satire, and cabaret flair into an unforgettable night of theatre.

Similar to the space it was performed in, DORIAN, directed by Aaron Holland, is one of those surprise gems woven into the fabric of the city’s neighbourhoods. The play dramatises the story of Oscar Wilde’s novel THE PICTURE OF DORIAN GRAY in the present-day club scene, where Dorian, the main protagonist, Basil, an artist who idolises Dorian, and Henry, the aristocratic antagonist, gallivant around late 1800s London in search of art, beauty, and just a smidge of hedonism. The minimalist-maximalism of the Open Arts Space is expertly utilised by the play’s performers, Luke Gerdes as Dorian, Bosie, and others, Anthony Kayer as Henry Wotton, Oscar Wilde and others and Brian Kulaga as Basil, James, and other characters. The three performers bring the hedonism and exuberance of Wilde’s Victorian London to the modern stage with wickedly witty dialogue and a reverence for the late author. DORIAN juxtaposes THE PICTURE OF DORIAN GRAY alongside the historical record of Wilde’s prosecution and conviction for the “gross indecency” of his relationship with the much younger Lord Alfred “Bosie” Douglas in 1895, at the height of his literary success. The two stories intertwine beautifully, with plenty of camp and sass like The Victorian Homosexual Quiz, blended with respect and reverence that Wilde himself would applaud. The performances of Gerdes’ Dorian and Kayers’ Wilde are shockingly tender, perfectly capturing the drive and desire for beauty and youth that both the author and fictional protagonist sought in Victorian London.

DORIAN is as relevant and relatable today as it was in Victorian times. The play features many of the same challenges, vices, and themes that modern-day audiences can relate to. Told with poetic prose and perfectly picturesque poses, this production is a rare gem in the Chicago theatre scene. Just as our protagonist, Dorian Gray, or the author himself, Oscar Wilde, would do, we must covet and hold on to our Chicago gems, appreciate and admire them. Youth, beauty, art, and productions are all fleeting in their world, and DORIAN is no different. DORIAN will play through December 14 at Open Space Arts (1411 W. Wilson, Chicago). Tickets are $30 and are on sale now at www.openspacearts.org.

Gross Indecency: The Three Trials of Oscar Wilde, running through March 23 at Strawdog Theatre, is an exciting rendering of the courtroom battles that led to a fatal fall from grace for 19th century literary genius Oscar Wilde.

It is hard to imagine now, with the growing empowerment of the LGBT-plus community, that Wilde’s career was completely destroyed when his attraction to men was discovered and proven. He was sentenced to two years of hard labor, and he lost all his assets and his income, dying nearly destitute three years later.

Promethean Ensemble’s wonderful presentation of Gross Indecency: The Three Trials of Oscar Wilde (actually a revival of a 2016 production by these talented players), brings us playwright Moisés Kaufman’s 1997 debut work, which won an Outer Critics Circle Award for outstanding Off-Broadway play in New York.

The play has aged well, and is exceptionally well crafted, and carefully researched, drawing from court records, and liberally sprinkled with Wilde’s memorably entertaining expressions. It has all the power of a court room drama, and all the flair of Wilde’s colorful life and friends.

The Promethean Ensemble is in its element, with a work that is loaded with excellent language, and demanding versatility – as 8 actors take on more than 25 characters, plus Wilde. He was a great speaker and writer, and Jamie Bragg’s performance in the lead conveys his brilliant intellect, and great humor. The cast is large, and the characters plentiful – and while the casting includes several women playing men’s roles, gender identities disappear for the audience as soon as the performances commence.

Because it is a revival of an earlier production, with largely the same cast, Promethean hit the ground running even before opening night. Directed by Brian Pastor, the costumes by Uriel Gomez have a creative steam punk that cross the boundaries from 19th century to contemporary leather and safety pin fetishism. 

The first act describes Wilde’s creative world and his social circle, and at one point we leap to the present, as a scholar explains to a television interviewer that in his time, Wilde would not have conceived of himself as “gay,” but merely as a creative aesthete, who was unbound by contemporary mores and taboos, modeling himself after the ancient Greeks in his love for young men.

Wilde was “outed” by the Marquess of Queensbury, accusing him publicly of being homosexual in an effort to end Wilde’s relationship with his son, Lord Alfred Douglas. The Three Trials part follows from Wilde suing Queensbury for defamation, but losing when it was proven that he did have sex with men.

This evidence brought a new trial as Wilde was charged with "committing acts of gross indecency with other male persons," a crime against a recently adopted law. We see enacted the excellent defense mounted by Wilde’s lawyer. But the trial ended in a hung jury, and Wilde was convicted in the third trial, and went to prison.

Wilde’s reputation was reclaimed over the decades, largely by the power of his writing. He is perhaps the second most prized author in English letters for such perfectly realized works las his novel, A Portrait of Dorian Gray, or his plays that remain popular to this day, such as Lady Windermere’s Fan, The Importance of Being Ernest, or The Ideal Husband.

Watching this show, I whispered to myself, “Brexit!” For the play brought to mind a rigidity seen in British Government, which under a Victorian sodomy law, felt duty-bound to continue its unfortunate legal pursuit of him – despite several junctures at which it would have been possible to do so gracefully.

Bound by expectations in a rigid social structure, the Crown’s legal apparatus went over a cliff with Wilde as they destroyed one of the leading lights of British culture, on behalf of the nobility class. (Likewise they are headed over a cliff by slavishly following the Brexit plebiscite – in my humble opinion.)

There is great tragedy there, both in Wilde's original decision to sue for slander, and in his ruin. At the time, Wilde had two immensely popular plays on London’s West End. These closed, cutting off his revenue, and allowing creditors to seize his assets, amid a scandal that, as we learn in Gross Indecency, he largely initiated himself. The Promethean Ensemble show runs through March 23 at Strawdog Theatre, and it is highly recommended.