Review: The Importance of Being Earnest

Review: The Importance of Being Earnest | The Three Leaches | Lakewood, Colorado | Curtain Up! | Eric Fitzgerald

Don’t let the sparse furnishings suggest that The Importance of Being Earnest at The Three Leaches in Lakewood is in any way a scaled‑down affair. The simplicity of the set gives the production room to breathe, allowing Meghan Leach’s highly commendable direction to foreground what really matters: the language, the cadence, and the bright, buoyant spirit of Oscar Wilde. With nothing extraneous competing for attention, the cast carries the evening with crisp delivery and an easy confidence that reminds you how little Wilde needs beyond sharp actors and a clear sense of play.

Wilde’s familiar tangle of mistaken identities and romantic ambitions plays out with easy clarity as Jack Worthing (John‑Christian Maheu) and Algernon Moncrieff (Andrew Catterall) each pursue their chosen loves—Gwendolen Fairfax (Johanna Meyer Jaquith) and Cecily Cardew (Leah Raulerson)—while contending with the formidable Lady Bracknell (Kathryn Gould) and the well‑meaning entanglements of Miss Prism (Bevin Antea) and Reverend Chasuble (Linda Swanson Brown). Mike Kienker adds a steady presence to the dual roles of Lane and Merriman, offering just the right touch of dry support from the edges of the action. The plot’s lost handbags, invented relatives, and devotion to the name “Ernest” remain as delightfully improbable as ever, and the company treats these contrivances not as burdens but as invitations to lean into Wilde’s sly, precise writing.

L to R: Andrew Catterall, John-Christian Maheu | Photography Credit: Veronica Straight-Lingo

The acting is strong and steady, anchored by Andrew Catterall and John‑Christian Maheu, who bring both assurance and a clear grasp of Wilde’s particular comic architecture. Catterall never misses a beat as Algernon; late in the second act, a simple crossing of his legs tightens the reins on the character in a way that’s both subtle and sharply timed. Maheu, as Jack, leans into the role with a kind of well‑placed bombast that suits Wilde’s language, giving his lines an urgency and flourish that play nicely against Catterall’s lighter touch. Together, they provide the production with a solid center of gravity.

L to R: Johanna Meyer Jaquith, Leah Raulerson | Photography Credit: Veronica Straight-Lingo

Johanna Meyer Jaquith’s Gwendolen is a particular pleasure. Her work has a confident sparkle, landing the character’s certainties and little vanities with a touch that feels instinctive rather than overstated. She moves through Wilde’s lines with an ease that suggests she understands not just the humor but the quiet precision beneath it. Equally strong is Leah Raulerson as Cecily Cardew, playing the role with a kind of poised perfection that never tips into exaggeration. Raulerson gives Cecily a clear inner life, and her timing, especially in the scenes opposite Jaquith, shows a firm grasp of Wilde’s delicate balance between sincerity and satire. Together, they bring a welcome brightness to the production.

The remainder of the cast offers steady, capable work, even if not all of them step quite as fully into Wilde’s particular world as the principal players. The result is a gentle unevenness in tone, with some performances feeling more grounded while others never quite find the same lift. Still, the strength and assurance of the leading actors give the production its momentum, carrying the evening forward with confidence.

What ultimately captures the essence of Wilde here is Meghan Leach’s direction. She guides the production with a firm, confident hand that never overshadows Wilde’s precision or his finely tuned rhythm. Leach finds the sweet spot between structure and freedom, giving the actors room to inhabit their characters while keeping the dialogue crisp and purposeful. Her approach allows Wilde’s humor and intelligence to surface naturally, without embellishment or strain. It’s the direction, more than anything else, that gives this production its vitality.

With no scenic designer credited, the production leans more heavily on its other design elements, and they serve it well. Lauren Kottenstette’s lighting and sound choices give the stage clarity and a gentle sense of atmosphere, supporting the action without drawing attention away from it. Kirra Lindauer’s costumes add welcome period texture, helping the audience settle into Wilde’s world even when the physical environment remains spare.

In the end, it’s Meghan Leach’s sure‑handed direction, paired with the strong work of the four central actors, that gives this Importance of Being Earnest its lift. Leach shapes the production with clarity and confidence, and Catterall, Maheu, Jaquith, and Raulerson meet that guidance with performances that feel grounded, lively, and fully engaged with Wilde’s world. It’s a combination that keeps the evening moving with ease and offers a consistently engaging experience. The Importance of Being Earnest plays through August 29 at The Three Leaches.

For information and tickets: https://www.thethreeleaches.com/shows