An Ideal Husband

Caitríona Ennis and Matthew Malone in The Ideal Husband. Image, Ros Kavanagh

****

When it comes to Oscar Wilde’s The Ideal Husband, director Mark Atkinson Borrull takes the Heston Blumenthal approach. Concocting a furious fusion from curious ingredients. Take 20 ounces of Bridgerton, 12 ounces of pantomime and 6 ounces of camp. Add one Cruella Deville and one open shirted, Jason Statham lookalike. Toss in a healthy smattering of bodices, bustles and bosoms encased in James McGlynn Seaver’s excellent crayola costumes. Sprinkle in a dash of Martha Knight’s delicious darkcore compositions during transitions, along with micro-doses of drug references. Simmer, adding a heavy stock of mostly terrific performances, including a star turn in the making, mixed together with some over the top acting even ham would be embarrassed to be associated with. Add 2kg of historical Wilde marinated in a roux of historic knowingness, then mix in two teaspoonfuls of everything you love in contemporary re-imaginings of Wilde with a tablespoon of everything you hate. Place in an oven on high heat for approximately three hours, allowing it rest for an interval of fifteen minutes, and viola. The Ideal Husband: The Drag Brunch, Bridgerton Pantomime Version. As likely to delight the radicals as upset the traditionalists. Atkinson Borrull serving up a sumptuously satisfying, diet defying treat, seasoned with Wilde’s delectable wit and wisdom.

Caitríona Ennis and Ayoola Smart in The Ideal Husband. Image, Ros Kavanagh

Political intrigue, career ruining scandal, blackmail, betrayals and bitchery, The Ideal Husband has more plot twists than Agatha Christie, all informed by the scathing viciousness of a drag brunch. At the centre of which is smooth, suave, swaggering Robert Chiltern, whose chickens are coming home to roost. Richard Flood as the aspiring politician strutting about in Bridgerton, open shirted broodiness over his shameful secret. His nemesis, a brilliant Caitríona Ennis, the menace that is the duplicitous Mrs Cheveley. A Cruella Deville in sheep's clothing, rocking up in her purple dress and pink platforms, Mrs Cheveley knows Chiltern's secret and will expose him unless he does her bidding. Which might not only end his career, but his marriage to the paragon of purity that is Ayoola Smart’s Lady Chiltern. A woman so snobbishly pure, even God bows Her head when She passes. But best laid plans go awry when complicated by comic twists. Including a darling Nick Dunning as the Earl of Caversham desperate to see his feckless son, Viscount Goring, married. Except Goring, how shall we delicately put this, is what is called a confirmed bachelor. Matthew Malone excelling as the put upon Goring, an injured Bertie Wooster with a touch of Noel Coward finding no good deed goes unpunished. Desired by Claire O’Leary’s infectiously brilliant Miss Mabel Chiltern. The vibrant and vivacious Mabel, forever fending off suitors, waiting for Goring to pop the question. The circle finally closed when it transpires Goring and Mrs Cheveley share a secret history of their own.

Richard Flood and Ayoola Smart in The Ideal Husband. Image, Ros Kavanagh

With its colourful costumes pressed against Kat Heath's sumptuous set, all Ionic columns, golden snakes, and drawing room opulence (gorgeously lit by Sinéad McKenna) events unfold with cartoon hilarity. Pantomime delivery, often played out front, sees many lines delivered with the force of a punchline; the fan snapping Wren Dennehy as Lady Basildon and Sadhbha Odufuwa-Bolger as Mrs Marchmont being divinely guilty. Yet heavy handed delivery is offset by scenes of comic subtly and nuance, with many informed by subtextual contemporary references. A superbly handed suggestion of beards and bisexuality recapturing Wilde’s daring and bravery; The Ideal Husband premiering in 1895 at the time of Wilde’s infamous court case that landed him in Reading Gaol. Yet not everything works. If Malone and O'Leary crackle with chemistry impossible to resist, the same does not hold for Smart and Flood. Strutting about like an action hero who’s walked into the wrong play, Flood’s cocky, sexual swagger gets the cold shower treatment from Smart’s paragon of snobbish virtue. A woman who has platitudes where she should have a personality. Attempts at seduction having the same sexual charge as trying to arouse a commandment. Making it hard to believe in, or care about their lifelessly cold relationship. Compared to Malone and O’Leary, whose vaudevillian energy lights up the stage with every glance and conversation. The glue binding both relationships, a show stealing Caitríona Ennis, turning in a terrific comic performance. Ennis silently eavesdropping between the pillars a masterclass in comic expression. But the night belongs to O’Leary, whose delightful Mabel is a thing of impeccable detail, engaging presence and exquisite comic and dramatic timing. O’Leary bound for great things. A supporting cast of Ingrid Craig, Gabriel Draper and Daniel Reardon rounding out an impressive ensemble.

Matthew Malone and Claire O'Leary in The Ideal Husband. Image, Ros Kavanagh

Aspiring to be everything to everyone, you risk being nothing to no one. Some might feel The Ideal Husband succumbs to that in marrying so many disparate ingredients. For others, The Ideal Husband honours Wilde in intent and spirit. Fun filled, with some fabulous performances, it might not be the ideal, but isn't that the moral of the story? The Ideal Husband an absolute joy for snobs and subversives alike.

Bon appétit.

An Ideal Husband by Oscar Wilde, runs at The Gate Theatre until July 11.

For more information visit The Gate Theatre