“We live, I regret to say, in an age of surfaces”

A drawing room comedy from the 1890s, transposed through Brit-pop tunes and Gallagher-esque fashion to the 1990s, and performed in a garden established in the 1820s. Everything about this reinterpretation of Oscar Wilde’s most acclaimed comedy screams contrast, excitement and diversity.

Based on this transposing premise, one may expect this performance to be chaotic and disjointed. However, surprising though it may seem, late-Victorian society and Britpop have more in common than you may think. Wilde’s concern with the subversion of Victorian social mores and the “age of surfaces” resonates strongly with Brit-pop’s associations with the Labour party and the election of Blair in 1997, overturning 18 years of Tory rule.

“We are not overly concerned with realism, but rather with simply having fun with the play and the performance”

Both were thus times in which cultural norms were being challenged. Director Zoe Black’s choice of costume and music is thus an excitingly provocative one: although not ostensibly political, it brings the underlying hedonism and decadence of Wilde’s play into an appropriately modern and relatable context.

Zoe may not be trying to be political, but she does have an agenda: “I am really concerned about the state of costume design in Cambridge theatre recently. Costume always seems to be the last thing directors address, instead focusing on props, lighting, and the stage layout. Costume is always the adjunct.” She places huge emphasis on the costume design in her reinterpretation of the Wilde classic, as a glance at the show’s publicity poster will affirm.

A potent mix of grunge minimalism, mod classiness, and all round ‘loud’ accessories shout late 90s through and through. In Zoe’s words, “we are not overly concerned with realism, but rather with simply having fun with the play and the performance.”

It is refreshing to hear of a show not taking its ‘message’ too seriously, instead focusing simply on enjoyment. This suits the play’s content perfectly. Although The Importance of Being Earnest does carry some commentary on Victorian norms and institutions, the principle focus is on the witty dialogue and linguistic turns of phrase that make up the exchanges between Gwendolen (Maya Achan) and Cecily (Charlotte Guerry), Algernon (Abbas Khan) and Jack (Adam Reeves), and Lady Bracknell (Lillian Crawford) and seemingly everybody else.

Thea Mead (playing Miss Prism), Roshan ‘Gino’ Ruprai (Reverend Chasuble), and Sinéad Foley (Lane/Merriman) complete the excellent cast, who, from my brief experience of their first rehearsal, have natural chemistry and charm. Sharp wit and charm are definite prerequisites for a performance of Wilde, and, according to Gino, “wit just comes naturally to us.” Thespians were never known for their modesty.

The Master’s Lodge Garden of Corpus Christi College is the stage for this Victorian turned Oasis performance. It is worth paying £5 just for a chance to look around this delightful space. The Master proudly announces to me that the Mulberry tree that lies at the back of the garden was given to the college by King James I.

I have no doubt James would have been delighted to see his tree providing the backdrop to such an ingenious and exciting performance of Oscar Wilde. The already fantastic setting will be further added to by an on-set band, led by the talented Ian Wang. I am told the three piece ensemble will be playing an eclectic mixture of Blur, Oasis, and Pulp.

“A potent mix of grunge minimalism, mod classiness, and all round ‘loud’ accessories shout late 90s through and through”

It is clear that director Zoe Black is equally delighted by the setting. A garden enthusiast herself, she is also aware of the challenges the outdoor stage presents. Corpus is located very centrally, and so the sounds of busy Cambridge often filter into the extremely reverberant acoustics of the garden. If anything, this enhances the performance, giving it a naturalism impossible to achieve in an indoor theatre.

In turn, in order for the sound to travel, the cast have to work especially hard on loud vocals and use of diaphragms. In Zoe’s words, every time you speak it should feel “as if you are taking a dump.” Wise words from a seasoned director. I am sure that the setting will prove a success. As long as the temperamental weather is on their side, the garden will prove the perfect complement to the onstage performances of wit and word play.

The satirical and the sincere: combining the conflicting in ROM.com

I am thoroughly excited by this new reading of a comedic classic, and you should be too. As post-exam entertainments go, there is little one can do better than lounging in the sun, Pimm’s in hand, watching eight students dressed to the nines in Brit-pop frills, performing the best comedy of the 19th century