A Woman of No Importance at Lace Market Theatre, Nottingham: Review

With A Woman of No Importance it is tempting to conclude that Oscar Wilde had not quite found his voice, "his voice" being best represented by The Importance of Being Ernest, which came two years later.

In fact, the range of Wilde's output offers clear evidence that he had many voices. In this play he demonstrates a deep anger at the double standards which women were expected to put up with in England in the 1890s. By implication of course its central theme continues to resonate.

But this isn't just an angry piece of polemic; at the same time as making its point loudly and clearly, the play generates a lot of laughs.

Without giving too much away, it's sufficient to say that the central character, Mrs Arbuthnot (Kay Harrison), the woman in the title, bore a child out of wedlock, who, when the action begins, has now grown into a young man with his future before him.

Wilde's main mouthpiece is the dissolute rake Lord Illingworth, played snakily by Guy Evans with just the right amount of camp. It's a very effective performance. A major weakness of the text, however, is that Illingworth is too much of a mechanical epigram machine.

He also appears to have it in for certain trades. In dispensing advice to young Gerald Arbuthnot (Nick Parvin), he says, "If you have not got a woman on your side you are quite over. You might just as well be a barrister, or a stockbroker, or a journalist". And he seems to direct that last word at any hapless reviewer who might be cowering in the audience.

Harrison's performance as Mrs Arbuthnot is outstanding. She's conveys all the pathos of her position at the same time as maintaining a dignified serenity, even at the very end when, verbally and physically, she turns the tables on her adversary.

A secondary mouthpiece for Wilde is the witty, caustic and flirtatious Mrs Allonby, beautifully played by Lace Market Theatre newcomer Amy Farmer. And Ruth Page is splendid as Hester Worsley, the young American observer of the English class system and love interest for Gerald.

Peter Hillier, in a welcome return, demonstrates yet again how to realise the potential of a "small" part. As the Ven. Archdeacon Daubeney D.D. he employs timing and facial expression to make every line hit home. It's a gem of a performance.

Costumes in this production are superb. Not only is it a quality frock fest, the men's period evening outfits are just right. It's a pity though that there's no smoking. In particular, the scene where Illingworth is alone with young Gerald cries out for a couple of decent cigars.

Nice work from director Dan Maddison.

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A Woman of No Importance

The play itself may be 123 years old but the themes are still as relevant as ever. Tanya Raybould went along to see why the Oscar Wilde classic is still appealing to modern audiences.

Although classic Wilde, A Woman of No Importance has been described as the "weakest of the plays written in the Nineties." Wilde had not yet truly mastered his art by the time it was first staged, yet it is still Wilde absolutely doing what he does best.

The flamboyant Irish playwright's forte is gathering 19th century high society, comic melodrama and humorous quips with an underlying commentary on society's morals and ethics. Wilde constructs his plays well and his observation of character is spot on.

The story begins at a party, with the conversation of Lady Jane Hunstanton (Eileen Frier-Kelsey), Lady Caroline Pontefract (Beverley Anthony) and her long suffering husband accessory. Enter the ever so elegant Mrs Arbuthnot (Kay Harrison) and much of the first act surrounds the witty remarks and observations about themselves and each other. The drama only begins in the second half when a past connection between Mrs Arbuthnot and the dandy Lord Illingworth (Guy Evans) is revealed, which not only shows their past catching up with them, but also presents a social and moral challenge to the story.

The main theme is the secrets of the upper-classes; the play dips into a battle of the sexes and the differences between men and women and specifically the way Victorian society treated its ladies – revealing a society that condemns a woman whilst admiring the cause of her downfall.

The play has some moving and dramatic moments, though also some lengthy dialogue - not the fault of the production, but the text of Wilde. The production itself is very good. The set is simple but some almost monochrome authentic costumes complete the picture and bring the characters to life. Director Dan Maddison handles the play well along with some excellent casting. Wilde’s quick paced dialogue is delivered admirably, particularly by Amy Farmer as Mrs Allonby and Ruth Page as Hester Worsley, the cast overall enabling an engaging, thought provoking and entertaining evening.

It may have been written more than a century ago but the theme is still as relevant today with Wilde’s belief in love and respect ultimately overriding the values of the high society.

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"A Woman of No Importance" by Oscar Wilde

Lace Market Theatre

It was with Wilde anticipation that I went to see this production at the Lace Market Theatre, as it was only just over a week ago that I saw The Importance Of Being Earnest here in Nottingham, and when you see the two in close proximity you appreciate the way that Wilde writes with such wit and characterization. He has a style of writing that every one can understand and recognise and if he were alive today he would a brilliant stand up comedian or sitcom writer.

Wilde explores the double standards that existed between men and women in the Victorian Era. Men were forgiven for their indiscretions far more readily than women, and women were more condemned for moral failings. Women had few rights, as well. The plot is very simple, but it is the psychological interactions between the characters that reveal a darker side to the Victorian Era.

Gerald Arbuthnot has been offered a job by Lord George Ellingworth and is over the moon about the new position but his mother, Mrs Arbuthnot doesn't seem to be too pleased that her only son is moving up in the world. Now why would that be? What has she against Lord Ellingworth?

Director Dan Maddison has done a brilliant job ensuring that all the wit of Wilde is presented with timing, not rushing the plot, in fact the plot unwound nice and steadily around the main plot line with the Arbuthnots and Ellingworth. The interim stories and characters drawing you in to the reason as to how, and why the bombshell is dropped when it was.

A simple but effective set non detracting from the story and characters but just enough to flesh out the scenes and make them visually attractive. Designed by David Hope he added to the feel of the Victorian era with class.

A fairly large cast for a Wilde play but with wonderful character. Take for instance Lady Pontefract, played beautifully with dry comic humour by Beverley Anthony. She's always got her eye on her husband, for whom she knows what is best for him, and attempts to keep him on a short leash. A wonderful matriarchal role.

John Anthony plays Lord Pontefract, the hen-pecked husband. There is a lovely realism between the two characters, which could be because away from the theatre, they are husband and wife.

Ruth Page plays the outspoken and slightly opinion laden American Hester Worsley. I was impressed by the accent because so many times there is a tendency to try and slightly over do an American accent and it sounds forced, but Ruth nailed it.

Eileen Frier-Kelsey played Lady Hunstanton with marvellous class befitting a character of such Victorian standing. The character is one of those that you really warm to, in a story where several of the characters are, shall we say, "stuck up" and self important.

Gerald, is played by Nick Parvin, and gets to portray a varied array of emotion in this role. From the excitement of his job offer, through naievity shown by his chat with his future employer about women, to his emotional outburst and protectiveness to his mother. Not as simple as the role first seems due to the complexity of the situation forced upon him.

I loved the role of Mrs Allonby, played by Amy Farmer. Very flirtatious at a time where this maybe wasn't the correct attitude for a lady to take. there's a very wordy passage that Amy has to deliver which was performed excellently and drew a well deserved, mid play show of appreciation from the audience. the twinkle in Amy's eye, even though befitting the character, I feel was because she loves playing this kind of confident female role.

Mrs Allonby's best friend, Lady Stutfield was played by Tilda Stickley and added a nice dollop of comedy to the play with her character's manner of speaking.

Stephen Herring played the flirty Mr Kettle, sorry Kelvil, who also got the rough end of Lady Pontefract's tongue.

The part of Lord Ellingworth was played so convincingly and with such confidence in the script by Guy Evans. The speeches delivered with such gusto and the arrogance of the dandy character was brought to the fore wonderfully.

Mrs Arbuthnot is played by Kay Harrison and what a lovely, emotional and tender performance she gives here. It makes you wonder how Mrs Arbuthnot and Lord Ellingworth were teamed up by Wilde, as the characters are at opposite ends of the spectrum, and this is shown without doubt in this performance.

Other roles were played by Thomas Broadbent as Farquhar, Peter Hillier as The Archdeacon, who also has some funny retorts to share, and Olga Karaiosif as Alice the maid. Oscar winning performances by all and thoroughly enjoyed by an almost full theatre, which is always good to see on a local amateur level.

It's everything you'd expect from an Oscar Wilde play. Very classy, very funny and some brilliant costumes as well, thanks to Barry Holland, Doreen Hunt and Doreen Sheard.

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