Tag Archives: Ronke Adekoluejo

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“The Importance of Being Earnest” at the National Theatre

Max Webster’s hit revival of Oscar Wilde’s masterpiece lives up to its sold-out status. The star-studded cast does not disappoint, Rae Smith’s design is gorgeous and a modern sensibility adds surprise touches that excite.

Ncuti-Gatwa-in-The-Importance-of-Being-Earnest-at-the-National-Theatre-credit-Marc-Brenner
Ncuti Gatwa

As introducing Algernon in drag indicates, Webster embraces Wilde’s risqué side. There no point hiding that the practice of ‘Bunburying’- taking on a second identity – is a code to cover escapades. Algernon and his pal Jack camp it up in effete style, literally skipping around the stage. There’s even the suggestion the couple are more than just friends. Taking the roles, Ncuti Gatwa and Hugh Skinner are enormous fun and look as if they are thoroughly enjoying themselves.

Ronkẹ-Adékọluẹ́jọ́-and-Eliza-Scanlen-in-The-Importance-of-Being-Earnest-at-the-National-Theatre-credit-Marc-Brenner
Ronkẹ Adékọluẹ́jọ́ and Eliza Scanlen

So, what happens when it comes to the guys falling in love with women? Or when it comes to the final revelation about their own familial relationship? It’s easy to see a claim here for fluidity (they each have two identities already!). The idea is applied to Gwendolen and Cecily, too, who could end up as lovers rather than sisters, adding new jokes to the fantastic performances from Ronkẹ Adékọluẹ́jọ́ and Eliza Scanlen.

Or you could just focus on Wilde’s silliness. Really, nothing should be taken seriously. The Importance of Being Earnest turns the world upside down (hence the production’s surprising encore). It might be said Webster doesn’t take Wilde as seriously as Dominic Dromgoole, whose enlightening Classic Spring series was a rare treat. But there is a boldness to Webster’s work that’s to his credit. 

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Amanda Lawrence and Richard Cant

There is more to praise. An excellent triumvirate of Sharon D Clarke, Richard Cant and Amanda Lawrence, taking the roles of Lady Bracknell, Canon Chasuble and Miss Prism, are superb. Clarke’s accent is a masterstroke, while the courting curate and his schoolmistress get big laughs as well as being, well, cute! As a final thrill, the physicality in the show, from Gatwa and Skinner in particular, is a genuine surprise. Comedies of manners can be static affairs, Wilde’s lines imposing, but this cast does a great job with physical comedy and stylised movements that makes the production stand out.

Until 25 January 2025

www.nationaltheatre.org.uk

Photos by Marc Brenner

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“Clyde’s” at the Donmar Warehouse

Hope is the takeaway from playwright Lynn Nottage’s diner-based drama. The ex-convicts who are employed by the owner of the restaurant that takes her name know they’ve made mistakes and won’t find work elsewhere. But they still have aspirations – to make the perfect sandwich. It doesn’t sound like a lot, but Nottage and this five-star production make it a fulfilling menu.

Nottage often writes about the world of work – about trades unions in Sweat or the rag trade in Intimate Apparel. But while the setting is America, evoked with great skill, the concerns she raises are global: expectations, exploitation and the gig economy. A sense of pride in work is made palpable. To show the importance of the cuisine, the lighting and movement are invaluable, with credit to Oliver Fenwick and Kane Husbands respectively. It’s important we take these sandwiches seriously!

To really make sure we care, it’s Nottage’s larger than life but credible characters that power her drama so effectively. You root for each in a variety of ways. Director Lynette Linton and her cast present a surprising collection of heroes to perfection.

The lead role, of sorts, is Clyde, a monstrous creation performed by Gbemisola Ikumelo, who is mesmerising. Despite being the boss from hell, Clyde’s difficult life and her problems make her intriguing as well as repulsive. She’s filled with hate – the question is why. Her counterpart is the Buddha-like Montrellous portrayed by Giles Terera with suitable mystery and charisma. For all the calm, it turns out his backstory is just as dramatic.

Montrellous inspires his three fellow chefs, acting as a mentor. And he can teach us all a thing or two. These younger characters adore him in heartwarming fashion while, of course, having their own problems. The dynamics between them prove engrossing. A potential love affair between characters exquisitely portrayed by Sebastian Orozco and Ronkẹ Adékọluẹ́jọ́ adds romance, while an unrecognisable Patrick Gibson has a stunning role as former gang member Jason.

There is nothing laboured about Nottage’s dialogue or, indeed, its delivery. While the problems faced are heavy, the humour is light – Clyde’s is a very funny play. Many playwrights can show their wit and create characters a little too amusing to believe. But the humour here feels effortless and flows naturally. Chef’s kisses for this great work.

Until 2 December 2023

www.donmarwarehouse.com