The Importance of Being Earnest
|The Importance of Being Earnest|
The original production of The Importance of Being Earnest in 1895 with Allan Aynesworth as Algernon (left) and George Alexander as John (right)
|Written by||Oscar Wilde|
|Place premiered||St James's Theatre,
London, England, UK
|Setting||London and an estate in Hertfordshire|
The Importance of Being Earnest, A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at St. James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personæ in order to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage, and the resulting satire of Victorian ways. Contemporary reviews all praised the play's humour, though some were cautious about its explicit lack of social messages, while others foresaw the modern consensus that it was the culmination of Wilde's artistic career so far. Its high farce and witty dialogue have helped make The Importance of Being Earnest Wilde's most enduringly popular play.
The successful opening night marked the climax of Wilde's career but also heralded his downfall. The Marquess of Queensberry, father of Lord Alfred Douglas, an intimate friend of Wilde, planned to present Wilde a bouquet of rotten vegetables and disrupt the show. Wilde was tipped off and Queensberry was refused admission. Soon afterwards, however, their feud came to a climax in court, where Wilde's homosexual double life was revealed to the Victorian public and he was eventually sentenced to imprisonment. Wilde's notoriety caused the play, despite its success, to be closed after just 86 performances. After his release, he published the play from exile in Paris, but he wrote no further comic or dramatic work.
The Importance of Being Earnest has been revived many times since its premiere. It is a classical example of 'the well made play'. It has been adapted for the cinema on three occasions. In The Importance of Being Earnest (1952), Dame Edith Evans reprised her celebrated interpretation of Lady Bracknell; The Importance of Being Earnest (1992) by Kurt Baker used an all-black cast; and Oliver Parker's The Importance of Being Earnest (2002) incorporated some of Wilde's original material cut during the preparation of the original stage production.
After the success of Wilde's plays Lady Windermere's Fan and A Woman of No Importance, Wilde's producers urged him to write further plays. In July 1894 he mooted his idea for The Importance of Being Earnest to Sir George Alexander, the actor-manager of St. James's Theatre. Wilde summered with his family at Worthing, where he wrote the play quickly in August. His fame now at its peak, he used the working title Lady Lancing to avoid pre-emptive speculation of its content. Many names and ideas in the play were borrowed from people or places the author had known; Lady Queensberry, Lord Alfred Douglas' mother, for example, lived at Bracknell.[Notes 1] Michael Feingold, an American critic, claims that Wilde drew inspiration for his plot from W. S. Gilbert's Engaged. Meticulous revisions continued throughout the Autumn—such that no line was left untouched, and "in a play so economical with its language and effects, they had serious consequences". SOS Eltis describes Wilde's revisions as a refined art at work: the earliest, longest handwritten drafts of the play labour over farcical incidents, broad puns, nonsense dialogue and conventional comic turns. In revising as he did, "Wilde transformed standard nonsense into the more systemic and disconcerting illogicality which characterises Earnest's dialogue.Richard Ellmann argues that Wilde had reached his artistic maturity and wrote this work more surely and rapidly than before.
Wilde hesitated about submitting the script to Alexander, worrying that it might be unsuitable for the St. James's Theatre, whose typical repertoire was relatively serious, and explaining that it had been written in response to a request for a play "with no real serious interest". When Henry James's Guy Domville failed, Alexander turned to Wilde and agreed to put on his play. Alexander began his usual meticulous preparations, interrogating the author on each line and planning stage movements with a toy theatre. In the course of these rehearsals Alexander asked Wilde to shorten the play from four acts to three. Wilde agreed and combined elements of the second and third acts. The largest cut was the removal of the character of Mr. Gribsby, a solicitor who comes from London to arrest the profligate "Ernest" (i.e., Jack) for his unpaid dining bills. Algernon, who is posing as "Ernest", will be led away to Holloway Jail unless he settles his accounts immediately. Jack finally agrees to pay for Ernest, everyone thinking that it is Algernon's bill when in fact it is his own. The four-act version was first played on the radio in a BBC production and is still sometimes performed. Peter Raby argues that the three-act structure is more effective, and that the shorter original text is more theatrically resonant than the expanded published edition.
The play was first produced in St. James's Theatre, London, on St. Valentine's Day 1895. It was freezing cold but Wilde arrived dressed in "florid sobriety", wearing a green carnation. The audience, according to one report, "included many members of the great and good, former cabinet ministers and privy councillors, as well as actors, writers, academics, and enthuasists".Allan Aynesworth, who played Mr Algernon Moncrieff, recalled to Hesketh Pearson that "In my fifty-three years of acting, I never remember a greater triumph than [that] first night". Aynesworth was himself "debonair and stylish", and Alexander, who played Mr. Jack Worthing, "demure".
The cast was:
- Mr. John Worthing, J.P. – George Alexander
- Mr. Algernon Moncrieff – Allan Aynesworth
- The Rev. Canon Chasuble, D.D. – H. H. Vincent
- Merriman – Frank Dyall
- Lane – F. Kinsey Peile
- Lady Bracknell – Rose Leclercq
- The Hon. Gwendolen Fairfax – Irene Vanbrugh
- Miss Cecily Cardew – Evelyn Millard
- Miss Prism – Mrs. George Canninge
The Marquess of Queensberry, the father of Wilde's Lover Lord Alfred Douglas (who was on holiday in Algiers at the time), had planned to disrupt the play by throwing a bouquet of rotten vegetables at the playwright when he took his bow at the end of the show. Wilde and Alexander learned of the plan, and the latter cancelled Queensberry's ticket and arranged for policemen to bar his entrance. Nevertheless, he continued harassing Wilde, who eventually launched a private prosecution against the peer for criminal libel, triggering a series of trials ending in Wilde's imprisonment for gross indecency. Wilde's ensuing notoriety caused the play, despite its success, to be closed after only 86 performances.
The play's original Broadway production opened at the Empire Theater on 22 April 1895, but closed after only twelve performances. Its cast included William Faversham as Algernon, Henry Miller as Worthing, Viola Allen as Gwendolen, and Ida Vernon as Lady Bracknell. Almost a year later, on 11 April 1896, the play received its Australian premiere at the Criterion Theatre in Sydney, with eminent local stage actress Jenny Watt-Tanner in the role of Lady Bracknell. The production transferred thence to Brisbane, where it opened at the Opera House on 15 July, and subsequently embarked upon an eight-week repertory tour of other regional centres in Queensland, including Charters Towers, Rockhampton, Bundaberg and Maryborough. However, other major Australian cities, including Melbourne, would not see the play for the first time until new productions were mounted after Wilde's death.
Until after Wilde's death his name remained disgraced and few discussed, let alone performed, his work. Short-lived Broadway revivals were mounted in 1902 and again in 1910. A collected edition of Wilde's works, published in 1908 and edited by Robert Ross, helped to restore his reputation. In 1911 The Importance of being Earnest was revived by Alexander in St. James's; he and Aynesworth resumed their lead roles. Max Beerbohm said that the play was sure to become a classic of the English repertory, and that its humour was as fresh then as when it had been written, adding that the actors had "worn as well as the play". The following year, a new Australian production was mounted at the Criterion Theatre in Sydney, where the play had been performed in 1896. Several other productions followed, including those in Adelaide (Unley City Hall, 1912), Melbourne (Athanaeum Theatre, 1915) and Perth (Town Hall, 1918). Further Broadway revival productions were staged in 1921, 1926, 1939, 1947, and more recently.
The play's respectability was assured in 1946 when a charity performance was attended by King George VI. As Wilde's work came to be read and performed again, it was The Importance of being Earnest which saw the most productions.
John Gielgud was possibly the most famous Jack Worthing of the twentieth century, and his 1939 production was seen as a turning point in modern stagings: it quickly served as a model for later performances. Gielgud also directed, produced and acted in the 1948 Broadway production whose cast won a special Tony Award for "Outstanding Foreign Company". Gielgud's performance is preserved on an audio recording dating from 1952, which also captures Edith Evans's legendary embodiment of Lady Bracknell.
The play has been performed at the Stratford Shakespeare Festival five times beginning in 1975 with William Hutt playing "Lady Bracknell" in both the 1975 and 1976 productions and Brian Bedford in the 2009 production. A similar twist was incorporated into a 1980 Australian production at the Bondi Pavilion Theatre in Sydney, where Lady Bracknell was played by female impersonator Tracey Lee. In 2005 the Abbey Theatre produced the play with an all male cast; it also featured Wilde as a character – the play opens with him drinking in a Parisian café, dreaming of his play. More recently the Melbourne Theatre Company staged a production in December 2011 with Geoffrey Rush playing Lady Bracknell.
Lady Bracknell's line, "A handbag?", has been called one of the most malleable in English drama, lending itself to interpretations ranging from incredulous or scandalised to baffled. Dame Edith Evans, both on stage and in the 1952 film, delivered the line loudly in a mixture of horror, incredulity and condescension.Stockard Channing, in the Gaiety Theatre, Dublin in 2010, hushed the line, in a critic's words,"with a barely audible 'A handbag?', rapidly swallowed up with a sharp intake of breath. An understated take, to be sure, but with such a well-known play, packed full of witticisms and aphorisms with a life of their own, it's the little things that make a difference."
In 2011 the Roundabout Theatre Company produced a Broadway revival based on the 2009 Stratford Shakespeare Festival production featuring Brian Bedford as director and as Lady Bracknell. It opened at the American Airlines Theatre on 13 January and ran until 3 July 2011. The cast also included Dana Ivey as Miss Prism, Paxton Whitehead as Rev. Chasuble, Santino Fontana as Algernon and Paul O'Brien as Lane. It was nominated for three Tony Awards: Best Revival of a Play, Best Costume Design of a Play and Best Leading Actor in a Play for Bedford (winning for costumes). The production was filmed live in March 2011 and was shown in cinemas in June 2011.
Set in “The Present” (1895) in London, the play opens with Algernon Moncrieff, an idle young gentleman, receiving his best friend, John Worthing, whom he knows as Ernest. Ernest has come from the country to propose to Algernon’s cousin, Gwendolen Fairfax. Algernon, however, refuses his consent until Ernest explains why his cigarette case bears the inscription, “From little Cecily, with her fondest love to her dear Uncle Jack.” John-Ernest is forced to admit to living a double life. In the country, he assumes a serious attitude for the benefit of his young ward, the heiress Cecily Cardew, and goes by the name of John (or Jack), while pretending that he must worry about a wastrel younger brother named Ernest in London. In the city, meanwhile, he assumes the identity of the libertine Ernest. Algernon confesses a similar deception: he pretends to have an invalid friend named Bunbury in the country, whom he can “visit” whenever he wishes to avoid an unwelcome social obligation. Jack refuses to tell Algernon the location of his country estate.
Gwendolen and her formidable mother Lady Bracknell now call on Algernon. As he distracts Lady Bracknell in another room, Jack proposes to Gwendolen. She accepts, but seems to love him very largely for his professed name of Ernest. Jack accordingly resolves to himself to be rechristened “Ernest”. Discovering them in this intimate exchange, Lady Bracknell interviews Jack as a prospective suitor. Horrified to learn that he was adopted after being discovered as a baby in a handbag at Victoria Station, she refuses him and forbids further contact with her daughter. Gwendolen, though, manages covertly to promise to him her undying love. As Jack gives her his address in the country, Algernon surreptitiously notes it on the cuff of his sleeve: Jack’s revelation of his pretty and wealthy young ward has motivated his friend to meet her.
Act II moves to Jack’s country house, the Manor House in Woolton, Hertfordshire, where Cecily is found studying with her governess, Miss Prism. Algernon arrives, pretending to be Ernest Worthing, and soon charms Cecily. Long fascinated by Uncle Jack’s hitherto absent black sheep brother, she is predisposed to fall for Algernon in his role of Ernest—whose name she’s particularly fond of. Therefore Algernon, too, plans for the rector, Dr. Chasuble, to rechristen him “Ernest.”
Jack, meanwhile, has decided to abandon his double life. He arrives in full mourning and announces his brother’s death in Paris of a severe chill, a story undermined by Algernon’s presence in the guise of Ernest.
Gwendolen now enters, having run away from home. During the temporary absence of the two men, she meets Cecily, each woman indignantly declaring that she is the one engaged to “Ernest.” When Jack and Algernon reappear, their deceptions are exposed.
Act III moves into the drawing room. Arriving in pursuit of her daughter, Lady Bracknell is astonished to be told that Algernon and Cecily are engaged. The size of Cecily’s trust fund soon dispels her initial doubts over the young lady’s suitability, but any engagement is forbidden by her guardian Jack: he will consent only if Lady Bracknell agrees to his own union with Gwendolen—something she declines to do.
The impasse is broken by the return of Miss Prism, whom Lady Bracknell recognises as the person who, twenty-eight years earlier, as a family nursemaid, had taken a baby boy for a walk in a perambulator (baby carriage) and never returned. Challenged, Miss Prism explains that she had abstractedly put the manuscript of a novel she was writing in the perambulator, and the baby in a handbag, which she had left at Victoria Station. Jack produces the very same handbag, showing that he is the lost baby, the elder son of Lady Bracknell’s late sister, and thus indeed Algernon’s elder brother. Having acquired such respectable relations, he is acceptable as a suitor for Gwendolen after all.
Gwendolen, though, still insists that she can only love a man named Ernest. What is her fiancé’s real first name? Lady Bracknell informs Jack that, as the first-born, he would have been named after his father, General Moncrieff. Jack examines the army lists and discovers that his father’s name – and hence his own real name—was in fact Ernest. Pretence was reality all along. As the happy couples embrace—Jack and Gwendolen, Algernon and Cecily, and even Dr. Chasuble and Miss Prism—Lady Bracknell complains to her newfound relative: “My nephew, you seem to be displaying signs of triviality.” “On the contrary, Aunt Augusta”, he replies, “I’ve now realised for the first time in my life the vital Importance of being Earnest.”
In contrast to much theatre of the time, The Importance of Being Earnest's light plot does not tackle serious social and political issues, something of which contemporary reviewers were wary. Though unsure of Wilde's seriousness as a dramatist, they recognised the play's cleverness, humour and popularity with audiences.George Bernard Shaw, for example, reviewed the play in the Saturday Review, arguing that comedy should touch as well as amuse, "I go to the theatre to be moved to laughter." Later in a letter he said, the play, though "extremely funny", was Wilde's "first really heartless [one]". In The World, William Archer wrote that he had enjoyed watching the play but found it to be empty of meaning, "What can a poor critic do with a play which raises no principle, whether of art or morals, creates its own canons and conventions, and is nothing but an absolutely wilful expression of an irrepressibly witty personality?"
In The Speaker, A. B. Walkey admired the play and was one of few to see it as the culmination of Wilde's dramatical career. He denied the term "farce" was derogatory, or even lacking in seriousness, and said "It is of nonsense all compact, and better nonsense, I think, our stage has not seen."H. G. Wells, in an unsigned review for the Pall Mall Gazette, called Earnest one of the freshest comedies of the year, saying "More humorous dealing with theatrical conventions it would be difficult to imagine." He also questioned whether people would fully see its message, "..how Serious People will take this Trivial Comedy intended for their learning remains to be seen. No doubt seriously." The play was so light-hearted that many reviewers compared it to comic opera rather than drama. W.H.Auden called it "a pure verbal opera", while The Times wrote that "The story is almost too preposterous to go without music."Mary McCarthy, in Sights and Spectacles (1959), however, and despite thinking the play extremely funny, would call it 'a ferocious idyll' ; 'depravity is the hero and the only character.' 
Of the theatre of the period, only the work of Wilde and his fellow Irishman Shaw has survived, as well as the farce Charley's Aunt. The Importance of Being Earnest is Wilde's most popular work and continually revived today.Max Beerbohm called this play Wilde's "finest, most undeniably his own", saying that in his other comedies—Lady Windermere's Fan, A Woman of No Importance and An Ideal Husband—the plot, following the manner of Victorien Sardou, is unrelated to the theme of the work, while in Earnest the story is "dissolved" into the form of the play.
Richard Ellmann says that The Importance of Being Earnest touched on many themes Wilde had been building since the 1880s – the languor of aesthetic poses was well established and Wilde takes it as a starting point for the two protagonists. While Salomé, An Ideal Husband and The Picture of Dorian Gray had dwelt on more serious wrongdoing, vice in Earnest is represented by Algy's craving for cucumber sandwiches. Wilde told Robert Ross that the play's theme was "That we should treat all trivial things in life very seriously, and all serious things of life with a sincere and studied triviality." The theme is hinted at in the play's ironic title, and "earnestness" is repeatedly alluded to in the dialogue, Algernon says in Act II, "one has to be serious about something if one is to have any amusement in life" but goes on to reproach Jack for 'being serious about everything'". Blackmail and corruption had haunted the double lives of Dorian Gray and Sir Robert Chiltern (in An Ideal Husband), but in Earnest the protagonists' duplicity (Algernon's "bunburying" and Worthing's double life as Jack and Ernest) is undertaken for more innocent purposes – largely to avoid unwelcome social obligations. While much theatre of the time tackled serious social and political issues, Earnest is superficially about nothing at all. It "refuses to play the game" of other dramatists of the period, for instance George Bernard Shaw, who used their characters to draw audiences to grander ideals.
Claims of homosexual subtext
John Gambril Nicholson wrote in 1892, "Though Frank may ring like silver bell/ And Cecil softer music claim/ They cannot work the miracle/ –'Tis Ernest sets my heart a-flame." There were few claims at the time of subtextual content, but modern critics often suggest it may simply have gone unnoticed to the Victorian audience. Theo Aronson has suggested that the word "earnest" became a code-word for homosexual, as in: "Is he earnest?", in the same way that "Is he so?" and "Is he musical?" were also employed.
Contrary to claims of homosexual terminology, Sir Donald Sinden, an actor who met two of the play's original cast (Irene Vanbrugh, Gwendolen and Allan Aynesworth, Algernon), and Lord Alfred Douglas, wrote to The Times to dispute suggestions that "Earnest" held any sexual connotations:
Although they had ample opportunity, at no time did any of them even hint that "Earnest" was a synonym for homosexual, or that "bunburying" may have implied homosexual sex. The first time I heard it mentioned was in the 1980s and I immediately consulted Sir John Gielgud whose own performance of Jack Worthing in the same play was legendary and whose knowledge of theatrical lore was encyclopaedic. He replied in his ringing tones: "No-No! Nonsense, absolute nonsense: I would have known"[Notes 2]
Russell Jackson agrees, noting that "nothing of the overtly Dorian mode is to be found in the finished play or its drafts." Instead, Wilde may have transposed his apprehension into Lord Chiltern's (non-sexual) blackmailing situation in the darker, political play, An Ideal Husband. By contrast, the humour and transformation in The Importance of Being Earnest is much lighter in tone, though Algernon's protest at his putative arrest, "Well I really am not going to be imprisoned in the suburbs for dining in the west-end!" ironically foreshadows Wilde's incarceration a few months later.
Use of language
While Wilde had long been famous for dialogue and his use of language, Raby (1988) argues that he achieved a unity and mastery in Earnest that was unmatched in his other plays, save perhaps Salomé. While his earlier comedies suffer from an unevenness resulting from the thematic clash between the trivial and the serious, Earnest achieves a pitch-perfect style that allows these to dissolve. There are three different registers detectable in the play. The dandyish insouciance of Jack and Algernon, established early with Algernon's exchange with his manservant, betrays an underlying unity despite their differing attitudes. The formidable pronouncements of Lady Bracknell are as startling for her use of hyperbole and rhetorical extravagance as much as the disconcerting opinions therein. In contrast, the speech of Dr Chasuble and Miss Prism is distinguished by "pedantic precept" and "idiosyncratic diversion". Furthermore the play is chock full of epigrams and paradoxes. Max Beerbohm described it as littered with "chiselled apophthegms—witticisms unrelated to action or character", of which he found half a dozen to be of the highest order.
Though Wilde deployed characters that were by now familiar: the Dandy lord, the overbearing matriarch, the woman with a past, the puritan young lady, his treatment is subtler than in his earlier comedies. Lady Bracknell, for instance, embodies respectable, bourgeois society in the play. Eltis notes how her development "from the familiar overbearing duchess into a quirkier and more disturbing character" can be traced through Wilde's revisions of the play.
ROBERT BALDWIN ROSS
—Dedication of The Importance of Being Earnest
Wilde's two final comedies, An Ideal Husband and The Importance of Being Earnest, were still on stage in London at the time of his prosecution, and they were soon closed as the details of his case became public. After two years in prison with hard labour, Wilde went into exile in Paris, sick and depressed, his reputation destroyed in England. In 1898, when no-one else would, Leonard Smithers agreed with Wilde to publish the two final plays. Wilde proved to be a diligent reviser, sending detailed instructions on stage directions, character listings and the presentation of the book, and insisting that a playbill from the first performance be reproduced inside. Richard Ellmann argues that the proofs show a man "very much in command of himself and of the play". Wilde's name did not appear on the cover, it was "By the Author of Lady Windermere's Fan". His return to work was brief though, as he refused to write anything else, "I can write, but have lost the joy of writing".
On 19 October 2007, a first edition (number 349 of 1,000) was discovered inside a handbag in an Oxfam shop in Nantwich, Cheshire, mimicking the discovery of Jack Worthing as an infant. Staff were unable to trace the donor. It was sold for £650.
The Importance of Being Earnest's popularity has meant it has been translated into many languages, though the homophonous pun in the title ("Ernest", a masculine proper name, and "earnest", the virtue of steadfastness and seriousness) poses a special problem for translators. The easiest case of a suitable translation of the pun, perpetuating its sense and meaning, may have been its translation into German language. Since English and German are related to the same family of languages, German provides an equivalent adjective (ernst) and also a matching masculine proper name (Ernst). Meaning and tenor of the wordplay are exactly the same. Yet there are many different possible titles in German, mostly concerning sentence structure. The two most common ones are "Bunbury oder ernst / Ernst sein ist alles" and "Bunbury oder wie wichig es ist, ernst / Ernst zu sein".
 In a study of Italian translations, Adrian Pablé found thirteen different versions using eight titles. Since wordplay is often unique to the language in question, translators are faced with a choice of either staying faithful to the original—in this case the English adjective and virtue earnest—or creating a similar pun in their own language.
Four main strategies have been used by translators; the first leaves all characters' names unchanged and in their original spelling, thus the name is respected and readers reminded of the original cultural setting, but the liveliness of the pun is lost. Eva Malagoli varied this source-oriented approach by using both the English Christian names and the adjective earnest, thus preserving the pun and the English character of the play, but possibly straining an Italian reader. A third group of translators substituted Ernest with a name that also represents a virtue in the target language, favouring transparency for readers in translation over fidelity to the original. For instance, in Italian, these versions variously call the play L'importanza di essere Franco/Severo/Fedele, the given names being respectively the values of honesty, propriety, and loyalty. French offers a closer pun: "Constant" is both a first name and the quality of steadfastness, thus the play is commonly known as De l'importance d'être Constant, though Jean Anouilh translated the play under the title: Il est important d'être Aimé ("Aimé" is a name which also means "beloved"). These translators differ in their attitude to the original English honorific titles, some change them all, or none, but most leave a mix partially as a compensation for the added loss of Englishness. Lastly, one translation gave the name an Italianate touch by rendering it as Ernesto; this work liberally mixed proper nouns from both languages.
Aside from multiple "made-for-television" versions, The Importance of Being Earnest has been adapted for the English-language cinema at least three times, first in 1952 by Anthony Asquith who adapted the screenplay and directed it. Michael Denison (Algernon), Michael Redgrave (Jack), Dame Edith Evans (Lady Bracknell), Dorothy Tutin (Cecily), Joan Greenwood (Gwendolen), and Margaret Rutherford (Miss Prism) were among the cast. In 1992 Kurt Baker directed a version using an all black cast, set in the United States of America.Oliver Parker, an English director who had previously adapted other plays by Wilde, made a film in 2002; it stars Colin Firth (Jack), Rupert Everett (Algy), Dame Judi Dench (Lady Bracknell), Reese Witherspoon (Cecily), Frances O'Connor (Gwendolen), Anna Massey (Miss Prism), and Tom Wilkinson (Dr. Chasuble). Parker's adaptation includes the dunning solicitor Mr. Gribsby who pursues Jack to Hertfordshire (present in Wilde's original draft, but cut at the behest of the play's first producer). Algernon too is pursued by a group of creditors in the opening scene. An Indian version of The Importance of Being Earnest in Telugu by the name "Ashta Chamma" was released in 2008 and was a critical and commercial success.
Opera and radio
In 1977, BBC Radio 4 broadcast the first radio adaptation of the four-act version of the play; directed by Ian Cotterell, it featured Fabia Drake as "Lady Bracknell", Richard Pasco as "Jack Worthing", Jeremy Clyde as "Algernon Moncrieff", Maurice Denham as "Rev. Canon Chasuble", Sylvia Coleridge as "Miss Prism", Barbara Leigh-Hunt as "Gwendolen" and Prunella Scales as "Cecily". The production was released on CD as part of the "Classic Radio Theatre" series by BBC Audio (ISBN 978-1408426937).
To commemorate the centenary of the first performance of The Importance of Being Earnest, BBC Radio 4 broadcast a radio adaptation on 13 February 1995; directed by Glyn Dearman, it featured Judi Dench as "Lady Bracknell", Sir Michael Hordern as "Lane", Michael Sheen as "Jack Worthing", Martin Clunes as "Algernon Moncrieff", John Moffatt as "Rev. Canon Chasuble", Miriam Margolyes as "Miss Prism", Samantha Bond as "Gwendolen" and Amanda Root as "Cecily". The production was released on audio cassette by Hodder Headline Audiobooks by arrangement with BBC Enterprises (ISBN 1-85998-218-2).
On 13 December 2000, BBC Radio 3 broadcast a new radio adaptation directed by Howard Davies starring Geraldine McEwan as "Lady Bracknell", Simon Russell Beale as "Jack Worthing", Julian Wadham as "Algernon Moncrieff", Geoffrey Palmer as "Rev. Canon Chasuble", Celia Imrie as "Miss Prism", Victoria Hamilton as "Gwendolen" and Emma Fielding as "Cecily", with music composed by Dominic Muldowney. The production was released on audio cassette by the BBC Radio Collection (ISBN 0-563-47803-9).
- Bunburying, meanwhile, which indicates a double life as an excuse for absence, is—according to a letter from Aleister Crowley to Sir R. H. Bruce Lockhart—an inside joke that came about after Wilde boarded a train at Banbury on which he met a schoolboy. They got into conversation and subsequently arranged to meet again at Sunbury.(D'arch Smith, Timothy: Bunbury – Two Notes on Oscar Wilde (1998))
- It is further relevant to the question of his authority on this subject that Gielgud was well known in theatrical circles to be gay.
- Ellmann (1988:397)
- Raby (1988:120)
- Ellmann (1988:363,399)
- Feingold, Michael, "Engaging the Past" (Note the last paragraph, where Feingold writes, "Wilde pillaged this piece for ideas.")
- Jackson (1997:163)
- Eltis (1996:177)
- Ellmann (1988:398)
- Raby (1997:165)
- Ellmann (1988:406)
- Raby (1997:163)
- Raby (1988:121)
- Mendelshon, Daniel; The Two Oscar Wildes, New York Review of Books, Volume 49, Number 15 · 10 October 2002
- Raby, 1995 in Pablé (2005:301)
- Pearson (1946:257)
- Jackson (1997:171)
- Mason (1917:432)
- "Importance of Being Earnest", The Sydney Morning Herald, 13 April 1896, p. 7.
- Beerbohm (1970:510)
- Wheatcroft, G. "Not Green, Not Red, Not Pink" The Atlantic Monthly, May 2003. Retrieved 5 September 2010.
- Sandulescu (1994:156)
- Tony Awards archive.www.broadwayworld.com . Retrieved 2 September 2010
- Naxos Audiobooks. Accessed on 18 August 2012 at: http://www.naxos.com/catalogue/item.asp?item_code=na234212
- The Sunday Business Post, 31 July 2005, Review:The Importance of Being Earnest. Retrieved 5 September 2010
- Raidió Teilifís Éireann 28 July 2005, Theatre Review:The Importance of Being Earnest Retrieved 5 September 2010
- "The Importance of Being Earnest". Melbourne Theatre Company. Retrieved 22 December 2011.
- Handbags at dawn The Guardian 23 January 2010. Retrieved 3 May 2010.
- Walsh, Fintan Irish Theatre Magazine 8 June 2010, Review:The Importance of Being Earnest Retrieved 5 September 2010
- Jones, Kenneth. "A Wilde Hit! Broadway's Earnest Gets 17-Week Extension, Bumping People Musical to Studio 54". Playbill.com. Retrieved 26 January 2011
- "Tony Award nominees, 2010–11". 3 May 2011. Retrieved 3 May 2011.
- Jackson (1997:172)
- Beckson (1970:195)
- Beckson (1970:194)
- Beckson (1970:189,190)
- Beckson (1970:196)
- Beckson (1970:188)
- The Importance of Being earnest, Oxford World Classics, Peter Raby, Introduction, p.xxiii
- ..."you are aware of the mechanism, you are aware of Sardou": Beerbohm (1970:509).
- Bloom (2008:143). Victorien Sardou was a French dramatist known for his careful, but rather mechanical, plotting.
- Pablé (2005:302)
- In his poem "Of Boy's Names" (Love in Earnest: Sonnets, Ballades, and Lyrics D'arch Smith, Timothy: Love In Earnest: Some Notes on the Lives and Writings of English "Uranian" Poets from 1889 to 1930 (1970)
- Ellmann (1988:33)
- Ellmann (1988:88)
- The Times, 2 February 2001. Retrieved 5 September 2010.
- Raby (1997:167)
- Raby (1997:168)
- Raby (1988:125)
- Mason (1917:430)
- Ellmann (1988:527)
- Mason (1917:429)
- BBC NEWS | England | Staffordshire | Rare book found in charity shop 19 October 2007. Retrieved 3 May 2010
- Pablé (2005:301)
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- The Importance of Being Earnest on Project Gutenberg
- The Importance of Being Earnest – full text and reviews.
- The Importance of Being Earnest – Audio Book on LibriVox
- The Importance of Being Earnest study guide and teaching guide – themes, quotes, analysis, multimedia
- "The Importance of Being Earnest". Theatre & Performance. Victoria and Albert Museum. Retrieved 3 April 2011.
- 1947 Theatre Guild on the Air radio adaptation at Internet Archive