Wit, deception and double lives take center stage as Lamar University’s Department of Theatre and Dance presents “The Importance of Being Earnest,” Oscar Wilde’s timeless comedy of manners that continues to charm audiences more than a century after its debut, Oct. 30-Nov. 2 in the Studio Theatre.
The play, directed by guest director Jennifer Onopa, follows the story of two men who invent alter egos to escape social obligations, only to find themselves entangled in romantic confusion and mistaken identities.
Senior Porter LePray, the stage manager for the production, said the show’s humor continues to connect with modern audiences.
“There are moments that are blatantly funny, but there are also all these jokes we keep finding,” LePray said. “Once the actors know the context behind a line, everyone can get in on the joke — even if we haven’t read the essay Wilde might’ve been referencing.”
Unlike modernized versions that adapt Wilde’s work to a contemporary setting, LU’s production embraces the play’s original 19th-century grandeur.
“We’re not trying to modernize it,” LePray said. “This will feel very big and Victorian — fancy sets, rich costumes and all. We want to be as big as we can in that studio space.”
Actor Bailey Jenkins, who plays Jack, said the enduring humor and depth of Wilde’s writing make the production both challenging and rewarding.
“It’s a really old show, and the fact that it’s lasted this long and people are still performing it is so interesting,” Jenkins said. “There’s a lot of queer coding and personal expression woven into it. Wilde was persecuted for being gay, so he embedded a lot of his life experiences into the story in subtle ways.”
Beneath its humor and romantic misunderstandings, “Earnest” hides layers of social commentary, Anaya Adeosun, who plays Gwendolyn Fairfax, said.
“Sometimes deception is the only way people know how to live,” she said. “Wilde was critiquing a world that didn’t allow him to be truthful about who he was.”
While Lamar’s production remains true to its 1895 setting, Adeosun said the cast and director have found ways to make it relatable to modern audiences.
“Most of the show is historically accurate,” Adeosun said. “But it’s the flair — the way we highlight the characters’ quirks — that connects it to today. It’s still witty, still sarcastic, and still speaks to issues we face now.”
For Jenkins, portraying a character who leads a double life requires balancing humor with sincerity. He said one of the biggest challenges has been knowing how far to go with the comedy without losing the truth behind the character’s actions.
“It’s not a realistic play, but it’s still set in the real world,” Jenkins said. “You can easily overact, so I’m always trying to find the truth within the exaggeration.”
Rehearsals have focused heavily on discovering those nuances through experimentation and collaboration, Jenkins said.
“Every time we run a scene, I try something new,” he said. “That helps with memorization, blocking and finding what works. When we finally have an audience, those comedic moments will sharpen.”
LePray praised the ensemble’s chemistry and energy, noting that nearly half of the nine-member cast are freshmen — a sign, he said, that the program continues to grow and inspire confidence in new performers.
“They’re making big choices and coming in bold,” he said. “As a senior, it gives me hope that this program I feel so at home in will keep thriving.”
Jenkins credited the play’s wit and flexibility for keeping it relevant after 130 years.
“It’s funny, it’s sharp, and it still speaks to modern audiences,” he said. “You can bring out different layers of meaning — or not — and it still works. That’s why it’s performed so often.”
While the production explores deep themes, LePray said it never loses sight of its comedic heart.
“I hope audiences leave with their sides and cheeks in pain from laughing,” he said. “It’s a story that makes you think about the time period, but mostly through joy and humor.”
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