3/10 - A Reflection on ‘Bunbury. Ernst sein is everything” or ‘The Importance of Being Earnest’

by Oscar Wilde, directed by Claudia Bossard at the Schauspielhaus Graz

There’s nothing more thrilling than to leave a theatre play on a high! When the adrenaline and excitement still run through your veins, minutes after the curtains close - sorry not minutes, hours after - you know you’ve just witnessed something really special.

Goodness me how I LOVE a fresh and unexpected take on a British classic! More so when we’re treated to a Wilde! ‘Bunbury. Ernst sein is everything’ is everything and nothing like - yes, both at the same time, and no, they don’t cancel each other out - the typical English dandy comedy-situation, but with an unexpected, however very quintessentially British dark twist to it - very well done Claudia Bossard for achieving this!

In my first blog entry (Die Verwandlung), I mentioned how there’s so much power in simplicity, and how this alone can carry a narrative so smoothly - IF and only IF every other element of the production ‘rises to the challenge’ and delivers what is required of it - i.e. the performance of the actors, the well-defined and strong characters, AND the comedic pause/s - a very important element to the success of any well-respected comedy. The staging of this production relied solely on the presence - the being - of the characters, the monochrome stage, costume and make-up design (set & costume by Elisabeth Weiß) and, as with every production, a stage - only that on this occasion this was a massive black box, stripped of any other distracting elements thus raising even more the stakes of this performance to fall flat and its main subject matter to be lost. But this blank canvas didn’t disappoint! It was the perfect foundation which highlighted the craftsmanship of the actors and creative team, and produced an impeccable comedic and thought-provoking performance.

@ Schauspielhaus Graz | Lex Karelly

The use of both languages, German and English, was refreshing and a welcome creative decision - no doubt Victorian upper class people would have switched between English and whichever language was in-fashion and in season at the time. The audience was therefore not completely losing out on the meaning of some of the typical English idioms and phrases, constantly reminding us of the cultural and contextual setting, but also enjoying a wonderful German translation which so cunningly maintained the essence of the Victorian wittiness and character. Of course, this wouldn’t have been entirely possible without the accompanying strong mannerisms each character brought with itself, as well as the right amount of movement and choreography included (choreography by Marta Navaridas) The latter was also aptly used to enhance the fast developing events for both main characters, Algernon and Jack, and their adjacent ‘affairs’, highlighting the power relations between all characters, and supporting the rapid scene changes. And though the black & white colour scheme complemented the narrative in a beautiful aesthetical way, should one have taken away this element, the overall essence of the show wouldn’t have suffered, due to - as mentioned so many times - the strong characters the actors have conjured and brought to life on stage. However, having said that, the lead characters change of costume colours mid-way through the show was a very well calculated and strategic move, highlighting the many layers of one’s existence, or better, the many layers needed to hide their true selves for fear of not being exposed and ostracised. And this is what is so smart about the adaptation of this play at SHG, as the unfolding of the story allows enough room for interpretation without really saying which scenario is the “real” one. And the public is, yet again, left to decide for themselves what narrative they wish to go and flow with.

Being able to say what you truly want to say without using words is an art in itself, and the romantic relationship between the leads was therefore carried by elements such as these costume changes, spoken metaphors and…stolen glances and touches.

Like every self-respecting comedy, the subtext to each situation portrayed within the play had a darker, sadder side to it, which undoubtedly left one with a bitter-sweet taste after witnessing the inner and outer tragedy of the characters. The clever use of arranged marriages - a common characteristic of Victorian society (and all the preceding eras before it) - counts as one of the tools which could secure the lead characters the necessary framework and freedom to continue both their masked and genuine lives without repercussions. A marriage, which (often) is attributed to happiness and joyful experiences, becomes the only means to wrap their sad, and somewhat cruel, reality of not being able to freely fulfil their happiness and mutual love, and having to continue their double life behind this by-society-accepted-curtain.

@ Schauspielhaus Graz | Lex Karelly

Whilst I am not quite sure how the portrayal of the vampire lady fit with the narrative of the production as such, it was nevertheless a very funny moment, another aesthetically pleasing comedic relief to the fast-paced scenes before it. Come to think of it, let’s not forget the OBSESSION of the Victorians with vampires and all things eerie, magical and immortal - so yes, maybe deciding to add this aspect in the performance mix only reminds and emphasises the cultural context of that time, and also hints to the subtle hypocrisy of a society who fail(ed)s its individuals. It also begs the question, why were such fantasy 'trips' so acceptable, and quite (sexually) arousing, but same-sex relationships so ‘out-of-that(this)-world’?

@ Schauspielhaus Graz | Lex Karelly

And just as Jack and Algernon, Earnest and Bunbury, were seemingly conquering all their trials and tribulations and everything was heading to that sweet spot of a beautiful and happy ending, Wilde and Bossard, text and direction, pull out their last ace and shut the whole thing down - just like the society of the time (and still often the case now) - by exposing the hard truth about their familial relationship to one another and therefore making it quite impossible to continue their romantic liaison. The revelation of them being brothers is followed by shock, sadness and a deep sense of hopelessness, all portrayed so clearly and precisely by the actors in the form of non-verbal communication in the moments following the reveal. And one could feel these things together with the characters - kudos to Frieder Langenberger (Jack) and Andri Schenardi (Algernon) for the very heartfelt and pain-infused performance during that peak scene. When hope is taken away, one’s life becomes just an empty, desolate shell, and to a certain extent ceases to exist and/or be worth anything.

@ Schauspielhaus Graz | Lex Karelly

Transcending the boundaries of time and place, Wilde’s play continues to highlight the challenging, awkward, difficult and heartbreaking struggles same-sex couples come across today. Quite ironic, and tragic come to think of it, that Wilde himself got arrested for his homosexuality the same year this play premiered. It is still a subject matter which is deeply controversial in quite a number of countries around the world, and today's society - more than a century and half later - is still trying to break away from its hostile approach - more successfully now than then? I’ll leave you to decide for yourselves.

Find out more about the SHG adaptation here (German only): https://schauspielhaus-graz.buehnen-graz.com/play-detail/bunbury-ernst-sein-is-everything/