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The Importance of Being Earnest

Barbican Centre (Barbican Theatre,Barbican Hall. Guildhall School of Music and Drama Theatre, Cinema1,Cinema2,Gallery), West End, Greater London

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Synopsis
The full-length opera in three acts is Gerald Barry's typically idiosyncratic take on Oscar Wilde's definitive comedy of manners, complete with a whistling, marching, plate-smashing orchestra and gender-bending Lady Bracknell. Barry adapted the libretto himself, heavily cutting the original play to leave only the bare bones. Explaining his inspiration, the composer says: "I know of nothing like The Importance of Being Earnest - though perhaps it shares a subversion with Alice in Wonderland. The text revels in anarchy, and an Irish delight in the absurd - to the point of ecstasy." Reviewing the opera's world premiere in Los Angeles, Mark Swed of the Los Angeles Times wrote: "The opera is hysterically funny. The score is highly sophisticated and indescribably zany. Although unstaged, the concert performance proved marvelous theater. The world now has something rare: a new genuinely comic opera and maybe the most inventive Oscar Wilde opera since Richard Strauss' 'Salome' more than a century ago" Concert Performance. European premiere Barbican Hall


Barbican Centre (Barbican Theatre,Barbican Hall. Guildhall School of Music and Drama Theatre, Cinema1,Cinema2,Gallery), West End, Greater London
AddressSilk Street
London
EC2Y 8DS
Telephone0845 120 7550
StationBarbican (LT), Moorgate, St Paul's Bank


DescriptionSee also The Pit. Opened 1982. The Barbican is home to the internationally acclaimed bite programme, featuring a diverse range of the most exciting new theatre, dance and music from around the world. Bite has established firm relationships with leading international artists and its impressive list of Artistic Associates includes; Deborah Warner, Michael Clark Company, Cheek by Jowl, Fabulous Beast and Afroreggae UK Partnership. Whilst continuing to support the work of established companies, bite seeks to enable young and emerging artists to present work at the Barbican. Recent bite seasons have included music from the favelas of Rio, Shakespeare from Japan, an Icelandic Peer Gynt, puppetry from Canada, traditional dance from Cambodia and cabaret from South London. Bite work extends beyond the 1166-seat Barbican Theatre and the 200-seat Pit into non-traditional spaces, often blurring the boundaries between performer and audience and enabling an even greater number of people to enjoy its programme.

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