The play’s timing towards the end of the London season is reflected in sleeveless dresses in pale summery tones. Supporting Bryant’s focus on downstage action, designer Dale Ferguson hems in the space with angled, towering walls of gauzy curtains, using buttercup yellow for the optimistic home of the Chilterns and dark burgundy for the den of bachelor Lord Goring (Brent Hill).Īgainst these relatively simple backdrops, Ferguson’s costumes are rich in detail. The upper class London accents are uniformly crisp and clipped, and are adopted with remarkable naturalism.
Where Broadway struggled last season with the sexist elementsin revivals of My Fair Ladyand Carousel, Bryant simply respects audience intelligence, trusting that audiences will discern that the espoused views are those of the characters in situ, not of the company at large.įurther enhancing the quality of the performances is the work of voice and dialect coach Leith McPherson. On paper, the play is splendidly cast on stage, these talents manage to exceed expectations, and also coalesce in a wonderfully cohesive ensemble performance.īryant’s greatest achievement here is unearthing the humanity of Wilde’s characters the various society “types” are vividly portrayed as real people, and both the comedy and pathos are all the stronger for it.
The underlying appeal of Wilde’s wicked humour is the underlying truth in his astute observations that this truth remains ever valid today speaks both to the depth of Wilde’s insight and the resolute nature of human interaction.ĭirector Dean Bryant, an associate director of Melbourne Theatre Company, delivers a beautifully realised, endlessly entertaining production. The dramatic tension of the cleverly constructed plot is continuously relieved through the most delectable humour, delivered, here, with exquisite flair. Bearing out the theme of the need to forgive great men their past indiscretions, Lady Chiltern (Zindzi Okenyo) must learn to pardon Sir Robert and continue her support of his political career. An ideal husband, Sir Robert Chilton (Simon Gleeson) is blackmailed over the dishonest origin of his fortune. Wilde’s dissection of the mores and morals of upper class society includes aspects of “one percent” privilege, sexual politics and insider trading that make the 123 year-old play astonishingly relevant.
In their keenly anticipated season of An Ideal Husband, Melbourne Theatre Company matches the sparkle of Oscar Wilde’s wit with a gleaming production bejeweled with dazzling performances.
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