Bread, Brotherhood, and Bracknell: Reviewing the STC’s The Importance of Being Earnest

What’s so important about The Importance of Being Earnest? On paper, Oscar Wilde’s satire of Victorian manners can seem like a relic of a distant past when cucumber sandwich jokes passed for comedy. Yet, no one could accuse it of being outdated if they attended Stuyvesant Theater Community’s (STC) spring production of Wilde’s classic. Laughter was constant, and students from all corners of the school—from dedicated theater lovers to complete newcomers—agreed: the show was a fantastic tribute to Wilde’s masterpiece with its own distinctive flair. 

The comedy follows Algernon Moncrieff (Jaydon Mei) and Jack Worthing (Eamonn Ryan) as they attempt to woo Cecily Cardew (Daniella Solomon) and Gwendolen Fairfax (Maya Mukherji) respectively, each pretending to be a man called “Ernest.” 

From the outset, each character felt distinct, thanks to the cast’s precise vocal control and delivery. The butlers, Lane (Nathan Jea) and Merriman (Kevin Lin), had sublimely deep voices that provided a sharp, effective contrast to the actors’ more animated energies. 

Much of the production’s charm came from its physicality. Sophomore Jaydon Mei’s lively expressiveness and charisma were only amplified by his animated movements and sharp mannerisms. A particularly memorable moment was a choreographed scene in which Algernon was chased around a couch by Jack as he teased him. Mei’s capacity for physical humor extended beyond that moment and was emblematic of the cast as a whole. While several scenes were clearly rehearsed, it was evident that a large portion of the delivery relied on the actors’ initiative and innate talent.

Freshman Eamonn Ryan brought a youthful endearment to the role of Jack, particularly in his dynamic with Mei’s Algernon. Though Ryan’s performance was solid, Mei often stole the spotlight with his gusto and melodramaticism; Ryan’s acting sometimes appeared restrained next to his counterpart’s flamboyance. Yet gradually through the show, Ryan found his rhythm, delivering equally hilarious moments, revealing great promise as a young performer.

Upperclassmen veterans, such as senior Maya Mukherji’s Gwendolen Fairfax, were nothing short of masterful. Using her high-pitched, patronizingly posh tone, paired with sudden outbursts, Mukherji shocked audiences and demonstrated her skill. Gwendolen is an incredibly nuanced character, and Mukherji was able to tap into her dual nature, oscillating between witty self-parody and an obsession with British social norms to deliver a character so often underappreciated and misunderstood by audiences. 

Still, the undisputed star of the production was Maxwell Schoenstein’s Lady Bracknell. Schoenstein’s screechy falsetto, drag voice, and ability to hold so much upper-class contempt brought a thrill to the performance. His delivery elevated even Wilde’s driest lines—such as the throwaway remark regarding “the excesses of the French Revolution”—into theatrical gold. Yet the costume department truly cemented this character’s dominance, using ornate designs and a parodic drag style for his dress and appearance, which perfectly complemented his performance, transforming him into a walking satirization of the British upper class.

That said, the opening night was not without flaws. Most notably, the first performance was marred by sound issues, including persistent mic thumps, clunky early moments, and pacing problems. The lighting design was also underwhelming on day one, relying on stark, large spotlights on its characters that flattened the mood. These technical hiccups were relatively minor in the context of the overall production, though still noticeable. 

Lights and sound became more seamlessly integrated into the mood and rhythm of each scene in the following days. Occasionally, the lighting changes verged on being jarring, yet the shifts in lighting mirrored the emotional beats, adding a layer of dynamism to the show. Sound effects—including the unexpected clatter of a horse or whimsical musical cues—gave the show texture and earned frequent laughs. These touches, despite seeming small, made the show all the more immersive and flavorful. The immersion was further strengthened by the Props and Art departments, which remained consistent throughout the show. The real on-stage food, couches, and a colorful set weren’t just for show; much of the physical humor relied on the work of these departments to function. Scenes like Bracknell pressuring Jack into consuming more loaves of brioche bread, Algernon’s lounging on the set, or the aforementioned couch chase were built around the set and the props.

The set maintained its high quality throughout every performance. While the transitions were noticeably long at times, they became less noticeable as the show went on, eventually transitioning with smooth, near-flawless precision. Together, the cast and crew created a production that was more than the sum of its parts. 

While the opening performance was not without its stumbles, The Importance of Being Earnest succeeded in what mattered most: delivering a comedy that people enjoyed. At the heart of the production was its brilliant cast, which wove together an ensemble of charisma and complex dynamics that breathed life into Wilde’s wit, ultimately delivering a show that was a testament to the value of theater and the timelessness of comedy. 

As the graduating seniors bow out, they leave behind big shoes to fill, but the future looks promising as the torch is being passed. The next generation, with faces like Mei and Ryan, has proven itself capable of shouldering the legacy that the vacating seniors leave behind. STC has a bright future ahead in whatever realm it chooses, but it has demonstrably shown its capacity to deliver sublime comedy.