I first encountered The Importance of Being Earnest in college, when I was assigned to perform the ever-popular Gwendolen/Cecily tea scene in a beginning acting class. I knew nothing about Oscar Wilde, had never heard the term “comedy of manners,” and was terrified at having to pull off a British accent. (Did the teacher not know that English was my second language???)
It was bad. Like, “suppress-these-memories-until-you-go-to-therapy-someday” bad. My British accent sounded fake, shrill, and stilted, while everyone else seemed to speak the Queen’s English trippingly off the tongue. I was so embarrassed.
Fast forward nearly thirty years later: A lot has happened. I’m a working director in the American theatre. I do classical plays. I live in Ashland, home to one of the most renowned Shakespeare companies in the country. And I’m not afraid of the Queen’s English anymore.
One morning, I’m having coffee with Tim Bond, discussing OSF’s 90th Anniversary Season, and he casually floats the idea of The Importance of Being Earnest. And suddenly, like a bad LSD flashback, memories of that mortifying acting assignment come flooding back. But I manage to eke out a generic but convincing response:
“You know, I haven’t read it since college. I’d love to look at it again.”
And upon revisiting Mr. Wilde a second time, I realized:
This is a play about young people trying to manage big feelings in a low EQ world. The women are blunt. The men are dodgy. Innuendos are everywhere! It isn’t always laugh-out-loud-funny, but it is definitely always fun.
And it still feels so British. While I, alas, am still very not British.
But you know what is (or at least, was) British? Hong Kong. Singapore. India. Nigeria. Historically, Great Britain was all over the place, not just in England. Wilde wrote this play to satirize the ridiculousness of Victorian norms, and I was able to find my way into his critique through the delightful, awkward lens of colonialism and assimilation.
So, dear friends, I offer you my take on The Importance of Being Earnest—set in the British Malay Peninsula during the Victorian era, a lush multicultural melting pot booming with the promise of trade, growth, and migration. It’s the production I wish I’d seen in college. It’s frock coats and corsets sweating in 90% tropical humidity. It’s trying to grow a pink rose in a Southeast Asian jungle. It’s English high tea, with a splash of coconut milk.
—Desdemona Chiang