Gerald Barry The Importance of Being Earnest The hilarious new based on ’s play

October 26, 7.30pm - Millennium Forum, Derry~Londonderry October 30, 7.30pm - Grand Opera House, Belfast November 2, 8.00pm - Cork Opera House November 8 and 9, 8.00pm - Gaiety Theatre,

www.niopera.com www.wideopenopera.com Welcome

It may feel strange to describe this production of The Importance of Being Earnest as a homecoming tour, particularly as this is only the third time the opera has been seen fully staged anywhere in the world, but in many ways this is exactly what it is. The first performances on the island of Ireland of an opera adapted from one of Oscar Wilde’s most famous plays, written by one of Ireland’s greatest living composers, and co-produced by young opera companies from either side of the border must surely be a cause for celebration. Add to this the involvement of local singers Aoife Miskelly and Christopher Cull, and Ireland’s leading contemporary music group Crash Ensemble, and you have something very special indeed. To this celebration of Irish and Northern Irish culture we are delighted to welcome some of the very best international singers and creative talents, led by director / designer Antony McDonald and conductor Pierre-André Valade.

Earnest marks a significant milestone for both NI Opera and Wide Open Opera. Both companies have embraced contemporary opera recently (with NI Opera’s Opera Shorts last year, and Wide Open Opera’s production of The Alma Fetish in September) as well as more established grand opera (The Flying Dutchman, Tristan und Isolde), yet Earnest is something altogether different. A brand new opera with one of the most famous storylines in theatre. Contemporary music that is as playful and witty as it is modern and groundbreaking. A production that is genuinely “period contemporary” – stylish, original, yet capturing the spirit of Wilde perfectly. A modern classic in every sense.

On behalf of both companies we would like to thank everyone who has helped to bring this project to life. Special thanks go to the Arts Councils of Ireland and Northern Ireland, and to Sarasin & Partners for supporting the production. Thanks also to the organisers of the City of Culture in Derry~Londonderry for inviting us to stage the all-Ireland première of The Importance of Being Earnest in this wonderful city.

We hope you enjoy the show.

Oliver Mears Fergus Sheil Artistic Director, NI Opera artistic Director, Wide Open Opera

3 What inspired your setting of the opera? comparison. I’ve really enjoyed that In conversation with Antony McDonald, kind of contrast, although in some ways The stage direction is ‘period you approach everything in the same Director & Designer contemporary’, and Gerald has repeated way, and of course with the same level that, so I didn’t want it to have a pastiche of commitment. I have this amazing What drew you to this opera in the first place? 1890s feel. I wouldn’t do that with the play cast who are so exciting to work with, as either. I’ve always thought that it should indeed I also had on Lohengrin, so in a Well of course I love the play, but I’ve never feel stylish and contemporary, and with this way I feel as though I’ve come from one worked on it, never designed it. I saw that music there’s no way you don’t feel you’re really wonderful situation to another, with Gerald had written this piece and so I watching a contemporary event. There fantastic performers who know the music went to the Barbican concert performance are certain elements of the design that will very well, and who are prepared to take even before I knew I’d have anything to do remind you of something from the past, but risks. With this piece, of course, there is with the opera, and just absolutely loved it’s not set in one specific period. I’m not a the anxiety of what the composer will think it. Weirdly, I designed a dance piece years great person for period correctness anyway of what we’ve done, and that is at the back ago for the Siobhan Davies Dance Company – I think we’ll leave that to the BBC! of my mind slightly, but I think one has to where Gerald had written the music, but be truthful to oneself. I can’t second-guess this is my first Gerald Barry opera. It’s such How challenging is it to be responsible what Gerald would and wouldn’t like – an amazing piece – so exciting – and once for both directing and designing a show I just hope that he likes what we’ve done! I’d heard it I was drawn to it completely. like this? When I began to work on the production I just enjoyed it more and more as I came to In a director / designer relationship, realize and appreciate just how witty and ideas can be thrown around between two clever Gerald’s been. I think he’s done an people, and I suppose when you’re both amazingly good job with the libretto, which director and designer you’re very much is very difficult. It’s very witty and very on your own. On the other hand if you’ve anarchic, and I think it’s very much in the designed something you’re also going spirit of the play. to direct, you’re much more prepared, because as a designer you need a very deep Have you been surprised at the amount of understanding of what needs to happen. excitement the opera has generated? One does miss out on there being someone to throw ideas around with but I do have I haven’t been surprised at all. Any other people behind the scenes! contemporary opera tends to be quite difficult, and to have written one that is How different is it to direct a comic and truly funny is a major triumph. contemporary opera like this I remember saying to Gerald when I saw compared to an opera like Lohengrin? him at the Barbican that this should be his pension because it would be done Well for one thing, having just done everywhere! This is the third production of Lohengrin with a chorus of 72 (for Welsh it already and I’m sure there will be many, National Opera), it’s a relief not to have many more. a chorus! It’s also the great length of Wagner’s pieces – this is so concise in

4 5 Warren Buffet famously remarked that it Congratulations on behalf of everyone at takes 20 years to build a reputation. Most Sarasin & Partners to those involved in the of us, whatever our field of expertise, tour. would agree. The development of NI Opera from a start-up to a serious player with an Fergus Crawford impressive international reputation in a Chief Executive Officer little under three years is nothing less than Sarasin & Partners LLP Ireland extraordinary.

NI Opera’s meteoric rise has been underpinned by three deceptively simple principles: an uncompromising focus on quality, a commitment to innovation and (carefully managed) risk taking, and a real sense of place and belonging. This is a This production of Northern Irish opera company that reflects The Importance of Being Earnest is the virtues of today’s Northern Ireland, generously sponsored by and which provides a stage (literally and Sarasin & Partners LLP figuratively) for the cream of Irish operatic talent to develop and flourish. Much the same can be said for Wide Open Opera – an even younger company from the Irish Republic that has already shown its capabilities with a hugely successful Tristan und Isolde in Dublin last year.

The principles underpinning this philosophy have resulted in opera productions, festivals and performances that appeal to opera-lovers and critics in equal measure, but they are also principles that attract those of us in the corporate world. Quality, innovation, managed risk taking, and an offering that resonates with those around you are attributes as important to Sarasin & Partners as to NI Opera and Wide Open Opera. We’re very proud to be associated with both companies, and with this production of The Importance of Being Earnest – surely one of the best examples of high quality, highly innovative opera that exists today.

6 7 Wilde Song

Time – to mention one of Gerald Barry’s whatever. And those codes have proved To unmask masquerade and unclothe us not only bizarrely unsettling but also operatic characters, one who sings in his surprisingly resilient, capable of surviving desire, however, is the act of a percipient unsettlingly familiar – and all the more so 1991 piece The Triumph of Beauty and through four centuries of operatic and determined moralist – and one should for the characters’ seeming unawareness of Deceit and is rather unceremoniously development, from Monteverdi to much regard Barry’s as moralities, too, how very odd their world is. When the Hon. dispatched there – encourages us to believe that is happening now. Barry, however, sets not only in how they enlarge the scope of Gwendolen Fairfax delivers her line ‘It has that what at first disturbs us as ‘unnatural’ them aside. A high note from one of his what can seem natural and push further the a music of its own. It produces vibrations’, will sooner or later be absorbed within characters may indeed convey a moment barriers of prejudice, but also in how they we might feel her to be referring to Barry’s the ever increasingly capacious realm of of intense feeling, but it may just as well be articulate the forces, represented by music, score for The Importance of Being Earnest, what we understand as normal. Perhaps where the vocal line seems to want to go that compel people to do what they do. but it is doubtful if she realizes this. The Barry’s operas have not got there yet; they at that point. His characters do not behave With the conventions of operatic vocalizing opera does indeed have a music of its still seem edgy and strange, and perhaps appropriately and express what they feel; all unwrapped, Barry’s characters stand own: often fast, strongly pulsed, the words they will for a while longer. But now that they are, rather, subject to violent and before us in a condition of nakedness that pattered out on regular beats as if from more than twenty years have passed since hectic forces whose sources are elsewhere, evokes not only shock and bewilderment semi-automata, the accompaniment for a the first of them, The Intelligence Park, was in the music. but also pity. Being driven by the music’s wind-heavy ensemble that generally sounds staged, and now that this singular example relentless energy, these people find raw, strained or brusque and yet is tightly has been joined by four others, two of them Time, again, is crucial here, for these themselves pushed into positions – pushed, controlled. It is a bitter music, a raging full-length, the Barryesque is beginning to characters do not exist in the kind of perhaps, also into revelations – they would music, a rude music, at times a hilarious feel like one of multifarious opera’s possible progressive time that is usual in western prefer not to advance in public. The ground music, and it certainly produces vibrations. modes. music and especially in opera, time as a has gone from beneath their feet: the To the people in it, though, it is just where gradual unfolding. In terms of scenario, ground of rhythm and phrasing, of which they are – where they have to be. What distinguishes it? High definition, yes. they may. Each of Barry’s operas follows the accompaniment in its intemperateness Sound in a state of tension, sound stretched, a fairly straightforward narrative course, has taken command, and the ground of They are jolted from their origins even yes. Insistent pulse, certainly. But opera with events presented in due order. But harmony, which may be the most crucial by the libretto. While keeping so many is always chiefly about voices, and it is there is no attempt to substantiate this in loss of all. Answering a question about famous lines, Barry cuts the text boldly, Barry’s vocal style that most surprises, even the music, which will always be set to a this aspect of his music with regard to his not only for the practical purpose of disconcerts. Our operatic tradition – and steady pulse, often fast, with a good deal second big opera, The Bitter Tears of Petra reducing it to workable length but also not only that but the tradition of western of rotation and repetition in the melodic von Kant (2005), Barry replied: ‘I would in order to estrange it. As he has pointed classical music generally – encourages us material. We might have the impression of say every single bar in this opera can be out, just dropping the invariable ‘sir’ from to believe, contrary though this may be to people caught on a merrygoround, speedy related to a key centre.’ That does not mean, a servant’s lines immediately alters the anything like good sense, that people mean and brilliantly painted, from which they however, that his harmony is plain sailing, relationship. ‘Did you hear what I was what they sing. Singing, this repertory yell out as they pass. Decisively articulating for he immediately felt bound to add: playing?’, the libretto begins, as the play by and large insists, is expression. When melodies that whirl, stop or jump, these ‘Sometimes I had to agonize a lot to find does, but now Lane replies to Algernon with a singing character hits a high note, people are in a continuous present, a out what the centre actually was.’ Poor hope a simple, abrupt ‘No’. What is going on? this character is intent on conveying an world adrift from memory and devoid of for the characters, then, to understand the These people are out of step – out of step excitement that he – or, more likely, she – obligations, a world that offers us in some world in which they have to live. with the play, out of step with themselves. feels. More than that, our long-established senses the acme of opera as essentially culture has all kinds of codes within which amoral, the playground of masquerade and Here is another aspect of Barry’s operatic Barry has other kinds of fun as he wields characters can proclaim their devotion, desire – or, to mention two more Barry morality, that the spectacle of characters his scissors. One example with notable their grief, their desire for vengeance, or characters, Deceit and Pleasure. caught in a world gone crazy may seem to repercussions comes in Miss Prism’s

8 9 Gerald Barry examination of her long-lost handbag, we are to understand, are composers, and Gerald Barry was born for the 2007 Festival Présences. Sung by where her line about a stain ‘caused by one after another, in the first act and the in Ireland in 1952 Barbara Hannigan, it toured to Amsterdam, the explosion of a temperance beverage’ is second, they rattle off their settings of the and after attending London, Dublin, Miami and Toronto. stopped at ‘explosion’. This brings back the ‘Ode to Joy’. University College Barry has enjoyed a long association with shock-horror tritone in the orchestra that Dublin went to the Birmingham Contemporary Music was heard when Bunbury was ‘exploded’, Yet, for all the verbal echoes that are Amsterdam and later Group, for whom he wrote Wiener Blut, and the word ‘explosion’ is then repeated inevitably summoned, whether of Wilde Cologne to continue Dead March and Beethoven. God Save by the entire cast a further three times later or of Beethoven, it is, as always, the music his studies. His time © Betty Freeman The Queen for choir and ensemble was in the act, when the Army Lists are being that steers, through whatever swerves in Germany, where commissioned for the consulted, with the same debased musical it wants, shaking the characters off the he studied with Stockhausen and Kagel, by London’s South Bank Centre on the gesture. As with much in the score, the page and sending them hurtling. Barry’s proved to be a liberating experience and he fiftieth birthday of the Royal Festival Hall effect is at once powerful and puzzling. This alert zigzags, crazed colours and musical- soon came to public attention in 1979 with in 2001. could be the explosion that brings to the dramatic underminings spring from radical ensemble works “______” and Ø. surface the last and most vital link in the various sources: opera seria (especially Recent chamber works include Le Vieux Barry has received numerous commissions plot, or it could be a premonition on the Handel’s), the Stravinsky of Les Sourd for piano, commissioned by Betty from the BBC, including Chevaux-de-frise characters’ part of the explosion of their Noces, the extreme intervals of Webern’s Freeman, Feldmans Six-Penny Editions for the Ulster Orchestra at the 1988 Proms, social world. Or perhaps they are at last songs. A keen operatic zest has taken this for the London Sinfonietta and Saint Paul given its Russian première by the Mariinsky becoming conscious, somehow, of what wonderfully off-centre composer to diverse Chamber Orchestra, and No people. for Orchestra in 2007; The Conquest of Ireland, has happened to the perfectly fabricated situations: the eighteenth century in his Ensemble 7Bridges. given its German première by the Bavarian dramatic construct in which they have been first two stage works, The Intelligence Park RSO in 1998; Day for the BBC Symphony His most recent opera, The Importance of living their lives with so little trouble for and The Triumph of Beauty and Deceit, both Orchestra; The Eternal Recurrence, a setting Being Earnest, was jointly commissioned well over a century. to librettos written for him, by Vincent of Nietzsche for voice and orchestra; and by the LA Philharmonic and the Barbican Deane and Meredith Oakes respectively, Hard D for the Orkest de Volharding. in London, and received its world premiere Meanwhile, of course, that original play then to a play by Rainer Werner Fassbinder staging at Opéra national de Lorraine – will be playing in our minds. A swirling (Petra von Kant), and from there to a Barry’s first opera The Intelligence Park Nancy this year. A further production was introduction to the last act seems to wipe monodrama by Strindberg (La Plus Forte), (recorded on NMC), was commissioned staged at the Royal Opera House Linbury away a couple of pages of text to leave just followed now by the classic comedy of The by the ICA and first performed at the 1990 Theatre in June. Earnest received a 2013 Cecily’s ‘They have been eating muffins’ Importance of Being Earnest. He does all Almeida Festival. A second opera, The RPS Award for Large-Scale Composition angelically intoned on a high A, after which these differently, his settings as diverse as Triumph of Beauty and Deceit, written and a recording will be released on NMC. all the orchestral players join the two the original pieces. But we are everywhere for Channel 4 Television, opened the women in shouting: ‘Your Christian names in the same world, where emotion is all 2002 Aldeburgh Festival, followed by Barry is currently working on a Piano are still an insuperable barrier. That is all!’ over the place and unplaceable, alien even performances in London and the Berliner Concerto co-commissioned by Musica There are other occasions, too, where the to the characters who feel themselves to be Festwochen conducted by Thomas Adés. Viva, Munich, and City of Birmingham orchestra or a chorus (also pre-recorded) feeling it. A new staging took place earlier this year Symphony Orchestra to be premiered in takes part, and where tiny fragments signal at the Badisches Staatstheater Karlsruhe. November. the disappearance of lengthy passages. © Paul Griffiths The Bitter Tears of Petra von Kant was His music has been recorded on the NMC, There are also places where Barry adds to given in 2005 at Largo, Black Box, Marco Polo, BVHaast and the text, not just by reiterating a single word and in 2008 at the Basle Opera. La Plus RTE labels. but by shoving in a whole raft of Schiller. Forte, a one-act opera on the Strindberg Both Lady Bracknell and Miss Prism, play, was commissioned by Radio

10 11 Synopsis Act 1 music before bursting into her own setting of Now Algernon, masquerading as her guardian’s to have become engaged to Cecily without her Algernon Moncrieff is playing his own Freude schöner Götterfunken. brother Ernest, arrives and quickly charms permission. But when she discovers that this is arrangement of Auld Lang Syne for solo piano With Lady Bracknell and Algernon safely out her. It is Cecily’s dream to marry a man who a young woman in possession of a fortune her off-stage while his manservant Lane lays out of the way, Jack proposes to Gwendolen and is is wicked and bad and called Ernest. Algernon doubts are banished. However, Jack – in his afternoon tea, including cucumber sandwiches accepted. How can she not love a man whose quickly makes plans for Dr Chasuble, the rector, capacity as Cecily’s guardian – refuses to give and bread and butter for his master’s expected name is Ernest? to rechristen him Ernest. Meanwhile, Jack his consent to the marriage until Lady Bracknell arrives with the sad news that Ernest has passed permits him and Gwendolen to be united. guests: his Aunt Augusta, Lady Bracknell and his Having discovered her daughter has become away in . But Ernest is here, says Cecily. cousin Gwendolen. engaged to Jack, Lady Bracknell quizzes her This social Gordian knot is unloosed when Miss Lane announces Algernon’s friend Ernest, who future son-in-law about his lineage. When she Never can the trains from London have been so Prism reappears. Twenty-eight years earlier, is also known as Jack Worthing – and who is discovers that he knows nothing of his parents busy. Hot on Algy’s heels, Gwendolen arrives. when working as a governess in the Bracknell utterly besotted with Gwendolen. Algernon has and that he was adopted, having been found As Cecily is giving her tea the two young women household, she had inadvertently confused a come across Ernest’s cigarette case inscribed in a handbag at Victoria Station, she refuses to discover that they are both engaged to ‘Ernest’ three-volume novel that she had written with her with the message ‘From little Cecily, with her counternance the match. Jack manages to give and there is a violent storm over the tea cups. young charge and left the boy in a bag at Victoria fondest love to dear Uncle Jack’. He declares Gwendolen his address in the country, which is When Jack and Algy return they are exposed Station and put the novel in the perambulator that Ernest may not marry Gwendolen until he also noted by Algernon who scribbles it on his and Cecily and Gwendolen, united as sisters she was wheeling. Discovering her error, she reveals the true identities of Jack and Cecily. cuff. As his guests depart, he tells Lane to put now, leave their two suitors to quarrel over had fled. Ernest explains that he is Ernest in town and Jack out his country clothes as he will be visiting his Bunburying and a plate of muffins. Jack produces the handbag. He is Lady in the country and that Cecily is his ward. As far friend Bunbury. Act 3 Bracknell’s long-lost nephew and therefore as Cecily is concerned, Ernest is his ne’er-do-well Act 2 Cecily and Gwendolen tell Jack and Algy that Algernon’s older brother. And his name? younger brother who is always in some kind of The same as that of his father General Moncrieff, In the country Cecily is studying German with their Christian names are an insuperable bar to trouble, so Jack is a Bunburyist, says Algernon, says Lady Bracknell. A search of the army her governess, Miss Prism. German grammar, marriage. The men are agreed: Dr Chasuble will who also leads a double life by pretending to have records solves the mystery. It is Ernest. she declares, makes her look plain. Miss Prism, have to rechristen them both. an imaginary invalid friend called Bunbury who Gwendolen is ecstatic. Now the two couples a composer and an ardent Germanophile Lady Bracknell has also taken the train from often requires his presence in the country. can be married and with them, Miss Prism breaks into her own setting of Freude schöner London and on arriving in the country is and Dr Chasuble. Lady Bracknell and her daughter Gwendolen are Götterfunken. shocked to discover that her nephew appears announced. Lady Bracknell asks for cucumber © Christopher Cook sandwiches and declares her hatred of French

Christopher Cull and Stephen Richardson in rehearsal Peter Tantsits and Jessica Walker in rehearsal Stephen Richardson in rehearsal Christopher Cull, Joshua Bloom, Peter Tantsits, Jessica Walker, Stephen Richardson in rehearsal

12 13 Creative Team Cast

Conductor – Pierre-André Valade Cecily Cardew – Aoife Miskelly Director / Designer – Antony McDonald Hon. Gwendolen Fairfax – Jessica Walker Lighting Designer – DM Wood John Worthing – Peter Tantsits Movement Director – Lucy Burge Algernon Moncrieff – Joshua Bloom Assistant Director – Danielle Urbas Lady Bracknell – Stephen Richardson Assistant Conductor – Ben Gernon Miss Prism – Hilary Summers Répétiteur – Chris Hopkins Lane / Merriman – Christopher Cull Dr. Chasuble – Olwen Fouéré Production Team Acknowledgements

Orchestra - Crash Ensemble Production Manager – Patrick McLaughlin Arts Council of Northern Ireland

An Chomhairle Ealaíon Stage Manager – Kate Watkins – Susan Doyle Percussion 1 – Alex Petcu Queen's University, Belfast Assistant Stage Manager – James Lye Oboe – Jenny McGee Percussion 2 – Clare O’Keeffe Richard McBride Props Mistress – Patsy Hughes Clarinet – Deirdre O’Leary Percussion 3 – Ronán Scarlett John Gilhooly Bass Clarinet – Macdara Ó Seireadáin Piano / Celeste – David Quigley Costume Supervisor – Ilona Karas Katrina Black Bassoon – Éanna Monaghan Wardrobe Mistress – Melanie Carmichael Mark Tilley Bassoon 2 / Contrabassoon – Sinéad Frost 1 – Joanne Quigley Costumer Makers – Suzanne Parkinson, Millennium Forum Violin 2 – Emily Thyne Jackie Hallat, Margaret Pescott, Grand Opera House Christine Boyle Cork Opera House Horn 1 – Richard Wainwright – Lisa Dowdall Milliners – Simon Dawes, Janet Spriggs Gaiety Theatre Horn 2 – Liam Duffy Cello – Kate Ellis Hair & Make-up – Campbell Young Sarah Speers at Stag Head 1 – Cameron Todd – Sarah Halpin Company, Henrik Torp, J Paul Getty Jnr Charitable Trust Trumpet 2 – Patrick McCarthy Scarlett McPherson Garfield Weston Foundation Trombone – Roderick O’Keeffe Artistic Directors – Donnacha Dennehy Austins Department Store – Alex Kidston and Kate Ellis Master Carpenter – Stephen Anderson Lyric Theatre CEO – Neva Elliott Technical Manager – Alan McCracken Tower Hotel, Derry~Londonderry Operations Director – Claire Layton Production Electrician – Hallam Knight City Hotel, Derry~Londonderry Set Construction – Art for Art Void Gallery Scenic Artist – Paul Zündel Waterstones Belfast Transport – Philip Goss Aideen Corr Foyleside Shopping Centre Londonderry Chamber of Commerce

14 15 The Importance of Being Earnest A Trivial Comedy for Serious People Opera in Three Acts by Gerald Barry based on the text by Oscar Wilde Algernon at once interferes.] perfectly absurd your saying that your name isn’t Jack. I’m not a Bunburyist. If Gwendolen accepts by arrangement with Schott Music Ltd. Algernon. Don’t touch the cucumber sandwiches. Ernest. It’s on your cards. Here is one of them. me, I will kill my brother. They are for Aunt Augusta. [Taking it from case.] ‘Mr. Ernest Worthing, B. CHORALE There will be a short pause between acts 1 4, The Albany.’ I’ll keep this as a proof that your and 2, and an interval between acts 2 and 3. [Takes one and eats it.] name is Ernest if ever you attempt to deny it to CHOIR. A man who marries without knowing Bunbury has a very tedious time of it. Jack. YOU are eating. me, or to Gwendolen, or to any one else. [Puts ACT I. Algernon. [Takes plate from below.] Have some the card in his pocket.] [The sound of an electric bell is heard.] Algernon Moncrieff’s Flat in Half-Moon Street. bread and butter. The bread and butter is for Jack. My name is Ernest in town and Jack in the Algernon. Aunt Augusta! Morning-room in Algernon’s flat in Half-Moon Gwendolen. Gwendolen is devoted to bread and country. [Enter Lane.] butter. Street. The room is luxuriously and artistically Algernon. You are a secret Bunburyist! Lane. Lady Bracknell and Miss Fairfax. furnished. The sound of Auld Lang Syne is Jack. [Advancing to table and helping himself.] Jack. Bunburyist? What do you mean by [Algernon goes forward to meet them. Enter heard in the adjoining room. [Lane is arranging Very good bread and butter. Bunburyist? Lady Bracknell and Gwendolen.] afternoon tea on the table, and after the music has Algernon. Do not eat all. You cannot marry ceased, Algernon enters.] Algernon. Why are you Ernest in town and Jack Lady Bracknell. Good afternoon, dear Algernon. Gwendolen. in the country? Algernon. Did you hear what I was playing? [Sees Jack and bows to him with icy coldness.] Jack. Why? CHOIR: Who is Cecily?! Lane. No. Algernon. I’m feeling very well, Aunt Augusta. Algernon. Who is Cecily? [Rings bell.] Jack. Cecily is Mr. Thomas Cardew’s grand- Algernon. [To Gwendolen.] You are smart! Algernon. I’m sorry. I don’t play accurately. [Enter Lane.] daughter. I am her guardian. She lives at my Sentiment is my forte, I keep science for Life. Algernon. Bring me that cigarette case. place in the country under the charge of her Gwendolen. I am always smart! Mr. Worthing? Lane. Yes. admirable governess, Miss Prism. Lane. Yes. [Lane goes out.] Jack. You’re perfect, Miss Fairfax. Algernon. Cucumber sandwiches cut for Lady Algernon. Why are you Ernest in town and Jack [Enter Lane with the cigarette case on a salver. Gwendolen. Oh! I hope I am not that. It would Bracknell? in the country? Algernon takes it at once. Lane goes out.] leave no room for developments, and I intend Lane. Yes. [Hands them on a salver.] Jack. As Cecily’s guardian I adopt a high moral to develop in many directions. [Gwendolen and Algernon. [Opens case and examines it.] A tone, not good for health or happiness. In order Jack sit down together in the corner.] Algernon. [Inspects them, takes two, and sits present from Cecily. down on the sofa.] [Lane goes out.] to escape to town I pretend to have a younger Lady Bracknell. I’ll have a cup of tea, and one of Jack. Cecily is my aunt. brother called Ernest. That is the whole truth those cucumber sandwiches. [Enter Lane.] Algernon [Reading.] ‘From little Cecily with her pure and simple. Algernon. [picking up empty plate in horror]: Lane. Mr. Ernest Worthing. fondest love.’ ‘Little Cecily’ your aunt?? CHORALE Lane! Why are there no cucumber sandwiches? [Enter Jack.] Jack. [Moving to sofa and kneeling upon it.] CHOIR: The truth is rarely pure and never Lane. There were no cucumbers in the market. [Lane goes out] Some aunts are tall, some aunts are not tall. simple. Modern life would be very tedious if it I went down twice. Algernon. Ernest? What brings you up to town? Algernon. [Follows Ernest round the room.] Yes. were either, and modern literature a complete Algernon. No cucumbers! But why does your aunt call you her uncle? ‘From impossibility! Jack. Pleasure! Eating Algy? Lane. No little Cecily, with her fondest love to her dear Algernon. You are a Bunburyist. I was quite right Algernon. Slight refreshment at five o’clock. Uncle Jack.’ Besides, your name isn’t Jack at all; in saying you were a Bunburyist. You are one of Algernon. I am greatly distressed, Aunt Augusta, Jack. Cups? Cucumber sandwiches? Who is it is Ernest. the most advanced Bunburyists I know. about there being no cucumbers. coming? Jack. It isn’t Ernest; it’s Jack. Jack. What? Lady Bracknell. It really makes no matter, Algernon. Aunt Augusta and Gwendolen. Algernon. I had some crumpets with Lady Algernon. You have always told me it was Ernest. Algernon. Now that I know you to be a Jack. I love Gwendolen. I want to marry her! I have introduced you to every one as Ernest. Harbury, who seems to be living entirely for Bunburyist I naturally want to talk to you about pleasure now. Algernon. If ever I marry, I’ll try to forget it. You answer to the name of Ernest. You look Bunburying. I want to tell you the rules. as if your name was Ernest. You are the most [Algernon crosses and hands tea.] [Jack puts out his hand to take a sandwich. earnest-looking person I ever saw in my life. It is Lady Bracknell. Thank you.

16 17 Algernon. I am afraid, Aunt Augusta, I cannot the name of Ernest . . . I don’t think the name restrains him.] Mr. Worthing has not quite not approve of anything that tampers with dine with you tonight. My friend Bunbury is very suits me at all. finished yet. natural ignorance. Ignorance is like a delicate ill again. [Exchanges glances with Jack.] Gwendolen. It suits you perfectly. It is a divine Lady Bracknell. Finished what? exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically Lady Bracknell. Mr Bunbury seems to suffer name. It has a music of its own. It produces Gwendolen. I am engaged to Mr. Worthing, from curiously bad health. vibrations. unsound. Fortunately in England, at any rate, mamma. [They rise together.] education produces no effect whatsoever. If it Algernon. Yes; poor Bunbury is a dreadful Jack. But there are lots of other much nicer Lady Bracknell. Pardon me, you are not engaged did, it would prove a serious danger to the upper invalid. names. I think Jack, for instance, a charming to any one. When you do become engaged to classes, and probably lead to acts of violence in Lady Bracknell. Mr Bunbury must decide name. some one, I will inform you of the fact. And Grosvenor Square. You have a town house, I whether to live or die. Health is the primary duty Gwendolen. Jack? . . . No, there is very little music now I have a few questions to put to you, Mr. hope? of life. Ask Mr Bunbury not to be ill on Saturday, in the name Jack, if any at all, indeed. It does not Worthing. You, Gwendolen, will wait for me Jack. Well, I own a house in Belgrave Square. for I rely on you to arrange my music for me. It is thrill. It produces absolutely no vibrations . . . below in the carriage. my last reception. I have known several Jacks. The only really safe Lady Bracknell. What number in Belgrave Gwendolen. [Reproachfully.] Mamma! Square? Algernon. I’ll speak to Bunbury, Aunt Augusta, name is Ernest Lady Bracknell. In the carriage, Gwendolen! Jack. 149. if he is still conscious. Jack. Gwendolen, I must get christened at once - [Gwendolen goes to the door. She and Jack blow Lady Bracknell. [Rising, and following I mean we must get married at once. There is no kisses to each other behind Lady Bracknell’s Lady Bracknell. The unfashionable side! Algernon.] French songs I cannot possibly time to be lost. back. Lady Bracknell looks vaguely about as if I thought there was something. Are your parents allow. German sounds a thoroughly respectable Gwendolen. Married, Mr. Worthing? she could not understand what the noise was. living? language, and indeed, I believe is so. Gwendolen, Jack. [Astounded.] Well . . . surely. You know that Finally turns round.] Gwendolen, the carriage! Jack. I have lost both my parents. you will accompany me. I love you, Miss Fairfax. Gwendolen. Mamma. [Goes out, looking back Lady Bracknell. Both?... That looks like Gwendolen. Certainly, mamma. Gwendolen. I adore you. But you haven’t at Jack.] carelessness. Who was your father? [Lady Bracknell sings her own setting of Freude, proposed yet. Lady Bracknell. [Sitting down.] You can take a Jack. I am afraid I really don’t know. The fact is, schöner, Götterfunken, after which she and Jack. Well . . . may I propose now? seat, Mr. Worthing. Lady Bracknell, I don’t actually know who I am Algernon go into the music-room. Gwendolen [Looks in her pocket for note-book and pencil.] by birth. I was . . . well, I was found. remains behind.] Gwendolen. Yes, and Mr. Worthing, I am fully determined to accept you. Jack. Thank you, Lady Bracknell, I prefer Lady Bracknell. Found! Jack. [Nervously.] Miss Fairfax, ever since I met Jack. Gwendolen! standing. Jack. The late Mr. Thomas Cardew, found me, you I have admired you more than any girl . . . and gave me the name of Worthing, because he I have ever met since . . . I met you. Gwendolen. Yes, Mr. Worthing? Lady Bracknell. [Pencil and note-book in hand.] I feel bound to tell you that you are not down on happened to have a first-class ticket for Worthing Gwendolen. Yes. My ideal has always been to Jack. You know what I have got to say to you. my list of eligible young men, although I have the in his pocket at the time. Worthing is a place in love some one of the name of Ernest. There is Gwendolen. Yes, but you don’t say it. same list as the dear Duchess of Bolton has. We Sussex. It is a seaside resort. something in that name that inspires absolute Jack. Gwendolen, will you marry me? [Goes on work together, in fact. Do you smoke? Lady Bracknell. Where did he find you? confidence. The moment Algernon first his knees.] Jack. [Gravely.] In a hand-bag. mentioned to me that he had a friend called Jack. Well, yes, I must admit I smoke. Ernest, I knew I was destined to love you. Gwendolen. Of course I will, darling. I am afraid Lady Bracknell. I am glad to hear it. A man Lady Bracknell. A hand-bag? you have had very little experience in how to Jack. You really love me, Gwendolen? should always have an occupation of some kind. Jack. Yes, a hand-bag, Lady Bracknell. A large propose. There are far too many idle men in London as it black leather hand-bag, with handles - an Gwendolen. Passionately! Jack. My own one, I have never loved any one in is. How old are you? ordinary hand-bag in fact. Jack. Darling! the world but you. Jack. Twenty-nine. Lady Bracknell. In what locality did this Mr. Gwendolen. My own Ernest! Gwendolen. Yes, but men often propose for Lady Bracknell. A very good age to be married Thomas, Cardew find this ordinary hand-bag? Jack. But you don’t really mean to say that you practice. I know my brother Gerald does. What at. I have always been of the opinion that a man Jack. The cloak-room at Victoria Station. couldn’t love me if my name wasn’t Ernest? wonderfully blue eyes you have, Ernest! They are who desires to get married should know either quite, quite, blue. I hope you will always look at everything or nothing. Which do you know? Lady Bracknell. The cloak-room at Victoria Gwendolen. But your name is Ernest. Station? me just like that, especially when there are other Jack. [After some hesitation.] I know nothing, Jack. Yes, I know it is. But supposing it was people present. [Enter Lady Bracknell.] Jack. Yes. The Brighton line. something else? Do you mean to say you couldn’t Lady Bracknell. Lady Bracknell. The line is immaterial. love me then? Darling, I don’t much care about Lady Bracknell. Mr. Worthing! Rise, sir! Lady Bracknell. I am pleased to hear it. I do Gwendolen. Mamma! [He tries to rise; she Mr. Worthing, I confess I feel somewhat

18 19 bewildered by what you have just told me. To be Gwendolen. Ernest! We may never be married. Cecily. [Coming over very slowly.] But I don’t Cecily. I have never met a wicked person. I feel born, or at any rate bred, in a hand-bag, seems Although mamma may prevent us from like German. I look quite plain after my German frightened. I am so afraid he will look just like to me to display a contempt for the ordinary becoming man and wife, and I may marry lesson. every one else. decencies of family life that reminds one of the someone else, and marry often, nothing can alter Miss Prism. Your guardian laid particular stress [Enter Algernon] worst excesses of the French Revolution. my eternal devotion to you. on your German, as he was leaving for town. Algernon. You are my little cousin Cecily. Jack. What should I do? I would do anything for Jack. Dear Gwendolen! Indeed, he always lays stress on your German Cecily. I am not little. [Algernon is taken aback.] Gwendolen’s happiness. when he is leaving for town. Gwendolen. Your Christian name has an You are my wicked cousin Ernest. Lady Bracknell. I would strongly advise you, irresistible fascination. The simplicity Cecily. Uncle Jack is so serious! He cannot be Algernon. I am not wicked. You mustn’t think Mr. Worthing, to try and acquire some relations of your character makes you exquisitely quite well. that I am wicked. as soon as possible, and to make a definite effort incomprehensible to me. Miss Prism. [ herself up.] Cecily! You to produce at any rate one parent, of either sex, Jack. My own one! must remember his constant anxiety about that Cecily. I hope you have not been leading a double before the season is quite over. unfortunate young man his brother. life, pretending to be wicked and being really Gwendolen. How long do you remain in town? good all the time. That would be hypocrisy. Jack. How can I do that?? I can produce the Jack. Till Monday. Cecily. I wish Uncle Jack would allow that hand-bag! I really think that should satisfy you, unfortunate young man to come down here. Algernon. [Looks at her in amazement.] Oh! Lady Bracknell. Gwendolen. Good! You know German and geology Miss Prism, and I have been rather reckless. Lady Bracknell. Me, sir! What has it to do with Jack. My own darling! things of that kind influence a man very much. Cecily. I am glad to hear it. me? You can hardly imagine that I and Lord [To Lane, who now enters.] I will see Miss [Miss Prism sings her own setting of Freude, Algernon. I’ve been very bad. Bracknell would dream of allowing our only Fairfax out. schöner, Götterfunken while Cecily writes in her Cecily. It must have been very pleasant. [Pause.] daughter to marry into a cloak-room, and form Lane. Yes. [Jack and Gwendolen go off.] diary.] Uncle Jack is sending you to Australia. an alliance with a parcel? Good morning, Mr. Worthing! [Lane presents several letters on a salver to Miss Prism. Put away your diary, Cecily. Memory Algernon. Australia! I’d sooner die. Algernon. It is to be surmised that they are bills, is the diary that we all carry about with us. [Lady Bracknell sweeps out in majestic Cecily. You have to choose between this world, as Algernon, after looking at the envelopes, tears indignation.] Cecily. Memory is responsible for nearly all the next world, and Australia. them up.] three-volume novels. Jack. Good morning! [Algernon, from the other Algernon. I am hungry. Algernon. A glass of sherry. Miss Prism. Do not speak slightingly of the room, strikes up the Wedding March. Jack looks [They pass into the house. Miss Prism and three-volume novel, Cecily. I wrote one myself in furious, and goes to the door.] Will you stop!! Lane. Yes. Dr Chasuble enter.] earlier days. [The music stops and Algernon enters cheerily.] Algernon. To-morrow, I’m going Bunburying. Pause Cecily. I hope it did not end happily? I don’t like Lane. Yes. Might Gwendolen become like her mother? novels that end happily. [Enter Jack slowly from the back of the garden. Algernon. I shall probably not be back till He is dressed in the deepest mourning, with Algernon. All women become like their mothers. Miss Prism. The good ended happily, and the bad Monday. You can put out all the Bunbury suits crepe hatband and black gloves.] That is their tragedy. No man does. That’s his. unhappily. That is what Fiction means. . . . Miss Prism. Mr. Worthing! Jack. Is that clever? Cecily. Was it published? Lane. Yes. [Handing sherry.] Chasuble. Mr. Worthing? Algernon. It is perfectly phrased. Did you tell Miss Prism. Ah no! The manuscript was lost. Gwendolen about your being Ernest in town, and Cecily, you will read your Political Economy in Jack. [Tragically] My brother. Jack in the country? ACT TWO my absence. The chapter on the Fall of the Rupee Chasuble. Still leading his life of pleasure? Jack. [In a very patronising manner.] Garden at the Manor House. A flight of grey stone you may omit. It is somewhat too sensational. Jack. [Shaking his head.] Dead! No. I’ll say Ernest died in Paris of apoplexy. steps leads up to the house. The garden, an old- [Goes down the garden.] Chasuble. Your brother Ernest dead? Algernon (amazed). Paris! fashioned one, full of roses. Time of year, July. Cecily. [Picks up books and throws them back on Basket chairs, and a table covered with books, Jack. Dead. He died in Paris. [Enter Lane.] table.] Political Economy! Geography! German! are set under a large yew-tree. Chasuble. He will be buried here? Lane. Miss Fairfax. [Enter Merriman with a card on a salver.] [Miss Prism discovered seated at the table. Cecily Merriman. Mr. Ernest Worthing. Jack. No. In Paris. [Enter Gwendolen. Lane goes out.] is at the back watering flowers.] Chasuble. Paris! [Shakes his head. astonished.] Algernon. Gwendolen! Cecily. Mr. Ernest Worthing. Uncle Jack’s brother! Jack. Dr Chasuble I would like to be christened Gwendolen. Algy! Miss Prism. [Calling.] Cecily, Cecily! Your [Merriman goes off.] this afternoon. Would half-past five do? Jack. Darling! German grammar is on....

20 21 Chasuble. Admirably. up the can and begins to water the flowers.] won’t you? [Exit Merriman.] [Enter Cecily from the house.] Algernon. He’s going to send me away. Cecily. Of course. Why, we’ve been engaged for Cecily. [Advancing to meet her, takes megaphone Cecily. Uncle Jack! Cecily. It is always painful to part from people the last three months. and speaks through it.] My name is Cecily Cardew. [Cecily goes forward to Jack; he kisses her in a whom one has known for a very brief space of Algernon. The last three months?! melancholy manner.] time. Cecily. Yes. Gwendolen. [Takes her own megaphone and Algernon. Thank you. speaks through it.] Cecily Cardew? [Moving Your brother is in the dining-room! Algernon. But how? to her and shaking hands.] What a very sweet Jack. Who? [Enter Merriman.] Cecily. Ever since Uncle Jack confessed to us that name! I may call you Cecily, may I not? Cecily. Your brother Ernest. Merriman. The dog-cart is at the door. A[ lgernon he had a younger brother who was very wicked Cecily. With pleasure! looks appealingly at Cecily.] and bad, I fell in love with you, Ernest. Jack. Nonsense! I haven’t got a brother. Gwendolen. And you will always call me Cecily. It can wait, Merriman for . . . five minutes. Algernon. [crossing to her and kneeling.] Cecily. Oh, don’t say that. Gwendolen, won’t you? Merriman. Yes. [Exit Merriman.] Darling! [He kisses her, she puts her fingers [Runs back into the house. Miss Prism and Dr through his hair.] Cecily. If you wish. Algernon. Cecily, you are the visible Chasuble are astonished. Enter Algernon and Cecily. I hope your hair curls naturally, does it? Gwendolen. Then that is all quite settled, is it Cecily hand in hand. They come slowly up to personification of absolute perfection. not? Jack. Jack motions Algernon away.] Cecily. Ernest, I will copy your remarks into my Algernon. Yes, darling, with a little help from others. Cecily. I hope so. [A pause. They both sit down Algernon. Brother John, I am very sorry. I intend diary. [Goes over to table and begins writing in together.] to lead a better life in the future. diary.] Cecily. I am so glad. You must not laugh at me, darling, but it had always been a girlish dream of Gwendolen. My father is Lord Bracknell. You [Jack glares at him and does not take his hand.] Algernon. Do you really keep a diary? I’d give have never heard of papa, I suppose? anything to look at it. May I? mine to love some one whose name was Ernest. Cecily. Uncle Jack, take your brother Earnest’s [Algernon rises, Cecily also.] There is something Cecily. I don’t think so. Cecily. Oh no. [Puts her hand over it.] It is hand! in that name that seems to inspire absolute Gwendolen. The home seems to me to be the meant for publication. I have reached ‘absolute confidence. I pity any poor married woman Jack. No. perfection’. You can go on. I am ready for more. proper sphere for the man. And certainly once whose husband is not called Ernest. a man begins to neglect his domestic duties he Cecily. Ernest has been telling me about his poor Algernon. [Somewhat taken aback. Coughs.] invalid friend Mr. Bunbury and his bed of pain. Algernon. Do you mean to say you could not love becomes painfully effeminate, does he not? And I Cecily. Oh, don’t cough, Ernest. When one is me if I had some other name? don’t like that. It makes men so very attractive. Jack. Bunbury! dictating one should speak fluently and not Cecily. But what name? [After examining Cecily carefully through a Cecily. Yes, Bunbury. cough. [Writes as Algernon speaks.] Algernon. Oh, any name you like - for instance lorgnette.] Jack. Bunbury! I won’t have him talk to you Algernon. [Speaking very rapidly.] Cecily, ever - Algernon You are here on a short visit, I suppose. about Bunbury! since I first looked upon your wonderful and Cecily. But I don’t like the name of Algernon. Cecily. Oh no! I live here. Algernon. Brother John’s coldness is peculiarly incomparable beauty, I have dared to love you painful to me. wildly, passionately, devotedly, hopelessly. Algernon. Well, my own dear, sweet, loving little Gwendolen. [Severely.] Really? darling, I really can’t see why you should object [They all go off except Jack and Algernon.] Cecily. I don’t think that you should tell me that Cecily. My dear guardian, with the assistance you love me wildly, passionately, devotedly, to the name of Algernon, Cecily . . . [Moving to of Miss Prism, has the arduous task of looking Jack. I don’t allow Bunburying here. hopelessly. Hopelessly doesn’t seem to make her] . if my name was Algy, couldn’t you love me? after me. Algernon. Cecily is a darling. much sense, does it? Cecily. I might respect you, Ernest, I might Gwendolen. Your guardian? Jack. You are not to talk of her like that. I don’t admire your character, but I fear that I should Algernon. Cecily! Cecily. Yes, I am Mr. Worthing’s ward. like it. not be able to give you my undivided attention. [Enter Merriman.] Gwendolen. Oh! How secretive of him! [Rising Algernon. Well, I don’t like your clothes. Algernon. I must see Dr Chasuble on a most Merriman. The dog-cart is waiting. and going to her.] I have liked you ever since Jack. This Bunburying has not been a great important christening. Algernon. Tell it to come round next week, at the I met you! But now that I know that you are Mr. success for you. [Kisses her and rushes down the garden.] same hour. Worthing’s ward, I wish you were forty-two, [Goes into the house.] Cecily. I like his hair so much. and plain. Ernest is extremely susceptible to the Merriman. [Looks at Cecily, who makes no sign.] physical charms of others. Algernon. It has been a great success. I’m in love Yes. [Enter Merriman.] with Cecily, and that is everything. Cecily. Ernest? [Merriman retires.] Merriman. Miss Fairfax. [Enter Cecily at the back of the garden. She picks Gwendolen. Yes. Algernon. I love you, Cecily. You will marry me, [Enter Gwendolen.]

22 23 Cecily. Oh, but it is not Mr. Ernest Worthing who and puts four lumps of sugar into the cup.] Cecily. [Breaking away from Algernon.] great trouble, I refuse everything except food is my guardian. It is his elder brother. Dearest Cecily. [Severely.] Cake or bread and butter? Algernon! Oh! [The two girls move towards each and drink. I am eating muffins now because I Gwendolen, Mr. Ernest Worthing and I are other and put their arms round each other’s am unhappy. Besides, I am particularly fond of engaged to be married. Gwendolen. [In a bored manner.] Bread and waists as if for protection.] muffins. butter, please. Cake is rarely seen at the best Gwendolen. [Stung.] Mister Worthing is engaged houses nowadays. Cecily. Are you called Algernon? [Rising.] to me. Cecily. [Cuts a very large slice of cake, and puts it Algernon. Yes. Jack. [Rising.] Well, that is no reason why you Cecily. [Very politely, rising.] Ernest proposed to on the tray.] Hand that to Miss Fairfax. Cecily. Oh! should eat them all in that greedy way. [Takes me exactly ten minutes ago. muffins from Algernon.] [Merriman does so, and goes out with footman. Gwendolen. Is your name really John? [Shows diary.] Algernon. [Offering tea-cake.] I wish you would Gwendolen drinks the tea and makes a grimace. Jack. [Standing rather proudly.] Yes. Gwendolen. [Examines diary through her Puts down cup at once, reaches out her hand to have tea-cake instead. I don’t like tea-cake. lorgnette carefully.] He asked me to be his wife the bread and butter, looks at it, and finds it is Cecily. [To Gwendolen.] We have been deceived. Jack. I suppose a man may eat his own muffins in yesterday afternoon at 5.30. P[ roduces diary of cake. Rises in indignation.] Gwendolen. My poor wounded Cecily! his own garden. her own.] Gwendolen. You have filled my tea with lumps Cecily. My sweet wronged Gwendolen! Algernon. But you just said it was heartless to eat [Meditatively.] If the poor fellow has been of sugar, and though I asked most distinctly for Gwendolen. [Slowly and seriously.] You will call muffins. entrapped... bread and butter, you have given me cake. me sister, will you not? [They embrace. Jack and Jack. I said it was heartless of you, under the Cecily. [Thoughtfully and sadly.] Whatever [Enter Jack.] Algernon groan and walk up and down.] circumstances. I wish you would go. [He seizes unfortunate entanglement my dear boy may have Gwendolen. [Catching sight of him.] Ernest! My Gwendolen. I am afraid it is quite clear, Cecily, the muffin dish from Jack.] got into... own Ernest! that neither of us is engaged to be married to any Algernon. I am being christened at a quarter to Gwendolen. Do you allude to me, Miss Cardew, Jack. Gwendolen! Darling! [Offers to kiss her.] one. Let us go into the house. They will hardly six. as an entanglement? You are presumptuous. venture to come after us there. Gwendolen. [Draws back.] A moment! Are Jack. I am being christened at 5.30. We can’t both Cecily. Miss Fairfax, when I see a spade I call it you engaged to be married to this young lady? Cecily. No, men are so cowardly, aren’t they? be christened Ernest. It’s absurd. [Picking up the a spade. [Points to Cecily.] [They retire into the house with scornful looks.] muffin-dish.] Gwendolen. [Satirically.] I am glad to say that I Jack. [Laughing.] To Cecily! Of course not! Jack. And this is what you call Bunburying!? Algernon. Jack, you are eating muffins again! have never seen a spade. I wish you wouldn’t. There are only two left. Algernon. Yes, and a wonderful Bunbury it is. Gwendolen. Thank you. You may! [Offers her [Takes them.] I told you I was fond of muffins. [Enter Merriman, followed by the footman. cheek.] The most wonderful Bunbury I have ever had in He carries a salver, table cloth, and plate stand. my life. Jack. But I hate tea-cake. Algernon! I don’t want Cecily is about to retort. The presence of the Cecily. [Very sweetly.] I knew there must be some you here. Why don’t you go! misunderstanding, Miss Fairfax. This is my Jack. Do not Bunbury here. servants exercises a restraining influence, under Algernon. [Triumphantly] But there’s still one guardian, Uncle Jack. Algernon. Absurd. One can Bunbury anywhere. which both girls chafe.] muffin left. Gwendolen. [Receding.] Jack! Oh! Every serious Bunburyist knows that. Merriman. Shall I lay tea here as usual? [Jack groans, and sinks into a chair. Algernon Jack. Serious Bunburyist! I love Gwendolen. Cecily. [Sternly, in a calm voice.] Yes, as usual. [Enter Algernon.] still continues eating.] Algernon. I adore Cecily. [Merriman begins to clear table and lay cloth. Cecily. Here is Ernest. A long pause. Cecily and Gwendolen glare at Algernon. [Goes straight over to Cecily without Jack. You cannot marry Miss Cardew. ACT THREE each other and put aside megaphones.] noticing any one else.] My own love! [Offers to [Algernon begins to eat muffins.] [Gwendolen and Cecily are at the window, kiss her.] Gwendolen. I had no idea there were any flowers Jack. How can you calmly eat muffins now. looking out into the garden.] Cecily. [Drawing back.] A moment, Ernest! Are in the country. Algernon. Well, I can’t eat muffins in an agitated Cecily. They have been eating muffins. you engaged to be married to this young lady? Cecily. May I offer you some tea, Miss Fairfax? manner. The butter would get on my cuffs. One [Enter Jack followed by Algernon. They whistle Gwendolen. [With elaborate politeness.] Thank Algernon. [Looking round.] Gwendolen! should always eat muffins quite calmly. It is the some dreadful popular air from a British Opera.] only way to eat them. you. [Aside.] Detestable girl! But I require tea! [Laughing.] Of course not! Gwendolen, Cecily and the Orchestral Players Cecily. [Sweetly.] Sugar? Cecily. Thank you. P[ resenting her cheek to be Jack. It’s heartless eating muffins at all, under the [Speaking together.] Your Christian names are circumstances. Gwendolen. [Superciliously.] No, thank you. kissed.] You may. [Algernon kisses her.] still an insuperable barrier. That is all! Sugar is not fashionable any more. Gwendolen. Miss Cardew. The gentleman who is Algernon. When I am in trouble, eating is the Jack and Algernon [Speaking together.] Our only thing that consoles me. When I am in really [Cecily looks angrily at her, takes up the tongs now embracing you is my cousin, Algernon. Christian names! Is that all? But we are going to

24 25 be christened this afternoon. Algernon. Bunbury? Oh, he was exploded. pounds. That is all. Goodbye, Lady Bracknell. So Algernon. Thank you, Aunt Augusta. Gwendolen, Cecily, Orchestral Players. [To Jack.] Lady Bracknell. Exploded! Was he the victim of a pleased to have seen you. Cecily. Thank you, Aunt Augusta. For my sake you are prepared to do this terrible revolutionary outrage? Lady Bracknell. [Sitting down again.] A moment, Jack. I am Miss Cardew’s guardian, and she thing? Algernon. Aunt Augusta, I mean he was found Mr. Worthing. A hundred and thirty thousand cannot marry without my consent. pounds! Miss Cardew seems to me a most Jack. I am. out! The doctors found out that Bunbury could Lady Bracknell. Upon what grounds? not live, so Bunbury died. attractive young lady, now that I look at her. Few Gwendolen, Cecily, Orchestral Players. [To girls of the present day have any of the qualities Jack. His moral character. Untruthful! [Algernon Algernon.] To please me you are ready to face Lady Bracknell. [Pointing at Cecily] Mr. that improve with time. We live, I regret to say, and Cecily look at him in indignant amazement.] this fearful ordeal? Worthing. Who? in an age of surfaces. [To Cecily.] Lady Bracknell. Untruthful! My nephew Algernon. I am! Jack. That lady is Miss Cecily Cardew, my ward. Come over here, dear. [Cecily goes across.] Algernon? Impossible! He is an Oxonian. [Lady Bracknell bows coldly to Cecily.] Gwendolen, Cecily, Orchestral Players. How Pretty child! your dress is sadly simple, and your Jack. But my dear Lady Bracknell. The moment absurd to talk of the equality of the sexes! Where Algernon. I am engaged to be married to Cecily, hair seems almost as Nature might have left you consent to my marriage with Gwendolen, questions of self-sacrifice are concerned, men are Aunt Augusta. it. But a thoroughly experienced French maid I will allow your nephew to marry my ward. infinitely superior. produces a really marvelous result in a very brief Cecily. Mr. Moncrieff and I are engaged to be Lady Bracknell. [Rising and drawing herself up.] space of time. Jack. We are. [Clasps hands with Algernon.] married, Lady Bracknell. Impossible! [Bends, with a practised smile, to Cecily.] Kindly Gwendolen, Cecily, Orchestral Players. They Lady Bracknell. [With a shiver, crossing to the Jack. Then our future is one of passionate turn round, sweet child. [Cecily turns completely have moments of physical courage of which we sofa and sitting down.] Mr. Worthing, is Miss celibacy. women know absolutely nothing. Darling! Cardew at all connected with any of the larger round.] No, the side view is what I want. [Cecily presents her profile.] Yes, quite as I expected. Lady Bracknell. That is not the destiny I propose Algernon. Darling! [Cecily and Gwendolen fall railway stations in London? I merely desire There are distinct social possibilities in your for Gwendolen. [Pulls out her watch.] Come, into Jack and Algernon’s arms.] information. Until yesterday I had no idea that there were any families or persons whose origin profile. dear, [Gwendolen rises] we have already missed [Enter Merriman.] five, if not six, trains. To miss any more might was a terminus. Die zwei Schwachen Punkte unseres Zeitalters Merriman. Lady Bracknell! expose us to comment on the platform. [Jack looks furious, but restrains himself.] sind sein Mangel an Prinzipien und sein [Enter Lady Bracknell. The couples separate in [Enter Dr. Chasuble.] Jack. [In a clear, cold voice.] Miss Cardew is the Mangel an Profil. Das Kinn etwas höher, alarm. Exit Merriman.] Chasuble. Everything is quite ready for the grand-daughter of the late Mr. Thomas Cardew Kindschen. Stil beruht weitgehend auf der Art Lady Bracknell. Gwendolen! What? of 149 Belgrave Square, S.W.; Gervase Park, christenings. und Weise, wie das Kinn getragen wird. Zur Gwendolen. I am engaged to be married to Mr. Dorking, Surrey; and the Sporran, Fifeshire, N.B. [Vocal/Orchestral outburst.] Worthing, mamma. Lady Bracknell. Three addresses always inspire Zeit wird es sehr hoch getragen. Algernon! Am I to understand then that there are to be no Lady Bracknell. [In a trance.] Come here. [Lady confidence. But what proof have I of their (The two weak points in our age are its want of christenings at all this afternoon? Bracknell is about to attend to Gwendolen when authenticity? principle and its want of profile. The chin a little [Vocal/Orchestral outburst.] higher, child. Style largely depends on the way Jack intervenes.] Jack. Miss Cardew’s solicitors are Markby, As your present mood seems to be one peculiarly the chin is worn. They are worn very high, just at Jack. I am engaged to be married to Gwendolen Markby, and Markby. secular, I will return to the church at once. present. Algernon!) Lady Bracknell! Lady Bracknell. Markby, Markby, and Markby? Indeed, I have just been informed that Miss Algernon. Yes, Aunt Augusta! Lady Bracknell. [Numbed, and then agitated.] Jack. [Very irritably.] I have certificates of Miss Prism has been waiting for me. Algernon! Cardew’s birth, baptism, whooping cough, Lady Bracknell. There are distinct social Lady Bracknell. [Starting.] Miss Prism! possibilities in Miss Cardew’s profile. Algernon. Yes, Aunt Augusta. registration, vaccination, confirmation, and Did I hear you mention a Miss Prism? the measles; both the German and the English Algernon. Thank you, Aunt Augusta. Lady Bracknell. Is it in this house Mr. Bunbury lives? Chasuble. Yes, Lady Bracknell. variety. Lady Bracknell. Cecily, you may kiss me! Algernon. Bunbury doesn’t live here anymore. Lady Bracknell. Is this Miss Prism a female Lady Bracknell. Ah! A life crowded with Bunbury is dead. Cecily. [Kisses her.] Thank you, Lady Bracknell. of repellent aspect, remotely connected with incident. I am not myself in favour of premature education? Lady Bracknell. Dead! When did Mr. Bunbury experiences. [Rises, looks at her watch.] Lady Bracknell. You may also address me as Chasuble. [Somewhat indignantly.] She is the die? His death must have been extremely sudden. Gwendolen! The time approaches for our Aunt Augusta for the future. most cultivated of ladies, and the very picture of departure. We have not a moment to lose. Mr. Cecily. Thank you, Aunt Augusta. Algernon. Oh! Poor Bunbury died this afternoon. respectability. Worthing, has Miss Cardew any little fortune? Lady Bracknell. The marriage, I think, had better Lady Bracknell. What did he die of? Lady Bracknell. It is obviously the same person. Jack. Oh! about a hundred and thirty thousand take place quite soon.

26 27 May I ask what position she holds in your I deposited the manuscript in the basinette, and Miss Prism. And here, on the lock, are my Lady Bracknell. [Meditatively.] The General was household? placed the baby in the hand-bag. initials. I had forgotten that in an extravagant a man of peace, except in his domestic life. His Chasuble. [Severely.] I am a celibate, madam. Jack. [Who has been listening attentively.] But mood I had had them placed there. The bag is name would appear in the Army Lists. where did you deposit the handbag? undoubtedly mine. I am delighted to have it so Jack. These delightful records should have been Lady Bracknell. I must see her at once. Let her be unexpectedly restored to me. It has been a great sent for. Miss Prism. Do not ask me, Mr. Worthing. my constant study. [Rushes to bookcase and tears inconvenience being without it all these years. the books out.] M. Generals . . . Chasuble. [Looking off.] She approaches. Jack. Miss Prism, this is a matter of no small Jack. [In a pathetic voice.] Miss Prism, more is importance to me. I insist on knowing where ALL. Mallam, Maxbohm, Magley, Markby, [Enter Miss Prism hurriedly. Catches sight of restored to you than this handbag. I was the Migsby, Mobbs, Moncrieff! Lieutenant 1840, Lady Bracknell, who has fixed her with a stony you deposited the hand-bag that contained that baby you placed in it. infant. Captain. glare. Miss Prism grows pale and quails. She Miss Prism. [Amazed.] You!? looks anxiously round as if desirous to escape.] Miss Prism. I left it in the cloak-room of one of ALL. Explosion! Jack. [Embracing her.] Yes . . . mother! Lady Bracknell. [Sweet and chilling.] Prism! the larger railway stations in London. Jack. Lieutenant-Colonel, Colonel, General 1869, [Miss Prism bows her head in shame.] Come Jack. What railway station? Miss Prism. [Recoiling in indignant Christian names, Ernest. [Puts book quietly astonishment.] Mr. Worthing! I am unmarried! down.] I always told you, Gwendolen, my name here, Prism! [Miss Prism approaches in a humble Miss Prism. [Cry Out] Victoria! manner.] Prism! Where is that baby!? Jack. Unmarried! That is a serious blow. But was Ernest, didn’t I? Well, it is Ernest after all. Jack. I must retire to my room for a moment. cannot repentance wipe out an act of folly? Why I mean it naturally is Ernest. [General consternation. The Canon starts back in Gwendolen, wait here for me. horror. Algernon and Jack pretend to be anxious should there be one law for men, and another for Gwendolen. Ernest! My own Ernest! I felt from to shield Cecily and Gwendolen from hearing the Gwendolen. If you are not too long, I will wait women? Mother, I forgive you. [Tries to embrace the first that you could have no other name! details of a terrible public scandal.] here for you all my life. [Exit Jack in great her again.] Jack. My own one! excitement.] Lady Bracknell. Twenty-eight years ago, Prism, Miss Prism. [Still more indignant.] Mr. Chasuble. [To Miss Prism.] Laetitia! [Embraces you left Lord Bracknell’s house, Number [Noises heard overhead as if some one was Worthing, there is some error. her] throwing trunks about. Every one looks up.] 104, Upper Grosvenor Street, in charge of a [Pointing to Lady Bracknell.] There is the lady Miss Prism. [Enthusiastically.] Frederick! At last! perambulator that contained a baby of the Chasuble. What do you think this means, who can tell you who you really are. Algernon. Cecily! [Embraces her.] male sex. You never returned. A few weeks Lady Bracknell? Jack. [After a pause.] Lady Bracknell, who am I? later, through the elaborate investigations of Cecily. At last! Lady Bracknell. I hardly dare suspect, Lady Bracknell. You are Algernon’s elder brother. the Metropolitan police, the perambulator was Dr. Chasuble. Jack. Gwendolen! [Embraces her.] discovered at midnight, standing by itself in a Jack. Algy’s elder brother! Then I have a brother Chasuble. Your guardian has a very emotional Gwendolen. At last! remote corner of Bayswater. It contained the after all. I knew I had a brother! I always said nature. manuscript of a three-volume novel of more than I had a brother! Cecily! How could you have Lady Bracknell. My nephew, you seem to be usually revolting sentimentality. [Miss Prism Lady Bracknell. This noise is extremely ever doubted that I had a brother? [Seizes hold displaying signs of triviality. starts in involuntary indignation.] But the baby unpleasant. of Algernon.] Dr. Chasuble, my unfortunate Jack. On the contrary, Aunt Augusta, I’ve now was not there! Chasuble. [Looking up.] It has stopped now. brother. Miss Prism, my unfortunate brother. realised for the first time in my life the vital [Every one looks at Miss Prism.] [Shout] Prism! [The noise is redoubled.] Gwendolen, my unfortunate brother. Algy, you Importance of Being Earnest. have never behaved to me like a brother in all Where is that baby? Lady Bracknell. I wish he would arrive at some your life. Orchestral Players shout: Where is that baby!? conclusion! Algernon. I was out of practice. Miss Prism. Lady Bracknell, I admit with shame [Enter Jack with a hand-bag of black leather in that I do not know. I only wish I did. The plain his hand.] [Shakes hands.] facts of the case are these. On the morning of the Jack. [Rushing over to Miss Prism.] Is this the Gwendolen. [To Jack.] But what is your name?! day you mention, a day that is for ever branded hand-bag, Miss Prism? Examine it carefully Jack. Your decision on my name! on my memory, I prepared as usual to take the before you speak. Cecily. Gwendolen! baby out in its perambulator. I had also with Miss Prism. [Hums to herself while examining me a somewhat old, but capacious hand-bag in Jack. Aunt Augusta! When Miss Prism left me in the handbag.] It seems to be mine. Yes, here is the hand-bag, what was my name? which I had intended to place the manuscript of the injury it received through the upsetting of an a work of fiction that I had written during my omnibus in younger and happier days. Here is Lady Bracknell. You had your father’s name. few unoccupied hours. In a moment of mental the stain on the lining caused by the explosion. Jack. [Impatiently.] But what was my father’s abstraction, for which I never can forgive myself, Lady Bracknell. Explosion! name?

28 29 Future engagements include Colline for Christopher Cull, Under Glass (The Clod Ensemble), Paula Biographies Raymond Gubbay at the Royal Albert Hall, Lane / Merriman Spencer, La Femme Qui Se Cognait Dans Les and a return to the Garsington Opera for Portes (Bouffes du Nord Theatre, Paris), The Joshua Bloom, both The Cunning Little Vixen and Fidelio. Christopher is an Bull with Fabulous Beast (Dublin Theatre Algernon Moncrieff alumnus of Queen’s Festival/Barbican). Lucy Burge, University Belfast and Joshua Bloom was Movement Director the Royal Irish Academy Recent film includes The Wake by Oonagh born in Melbourne of Music. A current recipient of the BBC / Kearney, If Those Lips by Pat Mc Cabe (VIP/ and completed his Lucy was a principal Arts Council NI Young Musicians’ Platform RTÉ), Camillo’s Idea by Aurélien Froment B.A. (History) at the dancer with Rambert and a former Young Associate Artist with (Venice Biennale 2013), Cassandra: University of Melbourne. He was an Opera 1970–85, creating Ireland’s national touring company, Opera fragments of a playscript by Anne Enright Foundation Australia Stipendiat at the major roles for many Theatre Company, Christopher has worked (directed by Fouéré and Kevin Abosch, Vienna State Opera and a member of the choreographers. During this time she also with Wexford Festival Opera, Northern Irish Museum of Modern Art, Feb 2013), San Francisco Opera’s Merola Programme. performed as a guest artist with Nureyev. Ireland Opera, Lismore Festival, Opera This Must Be The Place by Paolo Sorrentino Ireland and Grange Park Opera. Roles (Palme d’Or selection, Cannes 2011), The For Opera Australia, roles include Dandini Lucy frequently collaborates with Antony include Moralès (Carmen), Don Alfonso Other Side of Sleep by Rebecca Daly and (La Cenerentola), Nick Shadow McDonald and their work includes Der (Così fan tutte), Malatesta (Don Pasquale), Yellow, the film (JDIFF 2012). (The Rake’s Progress) Schaunard Ring and Manon (Nationale Reisopera); Angelotti (Tosca), Fabrizio (La Pietra (La Boheme), Guglielmo (Cosi fan tutte), Queen of Spades, Rusalka and in 2015 del Paragone) and Le Geôlier (Dialogues Other work of note include the role of Figaro (Le Nozze di Figaro), Escamillo Fiddler on the Roof (Grange Park Opera); des Carmélites). Future plans include Hester Swane in By the Bog of Cats by (Carmen), Leporello (Don Giovanni) and Maria Stuarda (Opera North); Tsarevitch, engagements with the Ulster Orchestra, as Marina Carr (world premiere, Abbey Rodolfo (La Sonnambula). In San Francisco (Passau); L’Enfant et les Sortileges (Bolshoi). part of the BBC / Arts Council NI Young Theatre), the title role in Salomé, directed he sang Angelotti (Tosca), Garibaldo Lucy choreographed Ariadne auf Naxos Musicians’ Platform, and a return to by (Gate Theatre Dublin, (Rodelinda) and Ribbing (Un Ballo in with Katharina Thomas for Glyndebourne Grange Park Opera. Edinburgh and Spoleto Festival), Life Maschera), and appeared in the U.S. in the Spring 2013. is a Dream directed by Calixto Bieito premiere of Ligeti’s Le Grand Macabre. Olwen Fouéré, (Edinburgh International Festival, In the U.S. he has also sung Masetto Collaborations with Richard Jones include Dr. Chasuble Barbican, BAM), and her extensive (Don Giovanni) and Truffaldino Ariadne( ) Billy Budd and The Makropulos Affair performance work with Operating Theatre for the Metropolitan Opera, Gerald Barry’s (Frankfurt), Die Meistersinger (WNO Recent stage credits (1980-2008) which she co-founded with The Importance of Being Earnest in concert and ENO 2015), Les Contes d’Hoffmann include riverrun composer Roger Doyle. with the Los Angeles Philharmonic, and Lohengrin (Munich and ENO for (adapted, performed conducted by Thomas Adès, and appeared Hoffmann); Gloriana (Hamburg and ROH), and directed by Fouéré, Ben Gernon, with the Chicago Opera Theater and Santa L’Heure espagnole and Gianni Schicchi Galway Arts Festival, Kilkenny Arts Assistant Conductor Fe Opera. He sang Alidoro for Garsington (Royal Opera); Carmen (Opera North, Festival and Dublin Theatre Festival Opera, A Midsummer Night’s Dream for Dir. Daniel Kramer). Next year Lucy 2013), Maria de Buenos Aires (Cork Opera British conductor Ben Teatro Petruzelli, Bari, and Collatinus choreographs La Favourite in Graz for Dir. House), The Rite of Spring/Petrushka with Gernon studied at the (The Rape of Lucretia) in Ravenna, Reggio Sam Brown and Ariodante with Richard Fabulous Beast Dance Theatre S( adler’s Guildhall School of Emilia and Ferrara. Jones for the 2014 Aix en Provence Festival. Wells and Movimento Festival Wolfsburg Music and Drama with 2013), Sodome, my love by Laurent Gaudé Sian Edwards and Sir Colin Davis, where he (Rough Magic / TheEmergencyRoom), held the Fellowship, graduating

30 31 in 2011. In May 2013 Ben conducted America, and throughout Europe and the Director/Designer: Lohengrin (Welsh Aoife Miskelly, Camerata Salzburg to win the Nestlé UK, in venues including the Wigmore Hall, National Opera and Polish National Opera); Cecily Cardew and Salzburg Festival Young Conductors Concertgebouw, Royal Festival Hall, as well The Ring Cycle, 2009-2012, Manon and King Award. He was recently announced as as live and recorded on BBC Radio 3 and Priam for the Nationale Reisopera Holland; Northern Irish soprano a Dudamel Fellow of the Los Angeles Classic FM. He is Musical Director of the Wonderful Town, Rusalka, Queen of Aoife Miskelly is an Philharmonic for the 13/14 season. Orchestra of the City and has worked with Spades, Fiddler on the Roof, 2015 and Boris International Young numerous international soloists including Godunov 2016 (Grange Park Opera); Maria Artist with Cologne Recent highlights include conducting the Guy Johnston, Nicola Benedetti, Charlie Stuarda (Opera North); , Opera. For the 2013/14 season, Aoife Gustav Mahler Jugendorchester at the Siem, Craig Ogden and Linda Lin. Recent Aida, Samson and Dalilah (Scottish Opera); will play Gilda () and Gretel for Salzburg Festival and Die Entführung aus solo appearances include concertos by 2013 L’Enfant et les Sortileges (Bolshoi, Moscow). Cologne Opera and make her debut for La dem Serail with the Young Singers Academy Mozart, Schumann, Grieg, Shostakovich and Monnaie, reprising the role of Thérèse in in the same Festival, as well as his debut Rachmaninoff. Current and Recent Opera designs: Poulenc’s Les Mamelles de Tiresias, which with the Ulster Orchestra (broadcast live on La Finta Giardinera (Glyndebourne 2014), she first performed for Aix-en-Provence BBC Radio 3). Forthcoming engagements In opera, he has worked as assistant to Dir. Frederick Wake Walker; Makropolous this Summer. include London Philharmonic Future conductors including Sir Charles Mackerras, Case, (Frankfurt); The Gambler (ROH); Firsts, London Symphony Orchestra Jane Glover, Dominic Wheeler and Trevor Cunning Little Vixen (Amsterdam); Billy A Sickle Foundation Scholar and graduate (Discovery series), Bristol Ensemble and Pinnock. Conducting at Sadler’s Wells, he Budd (Frankfurt, Amsterdam); Giulietta of the , Aoife was debuts with BBC Scottish Symphony, worked with the Pet Shop Boys with their (Paris, Geneva, ENO 2012, all Dir. Richard a finalist at the Kathleen Ferrier Awards, Nagoya Philharmonic, and Vancouver ballet The Most Incredible Thing in 2011 Jones); Prima Donna by Rufus Wainwright and the winner of the Hampshire National Symphony. Ben made his BBC Proms and 2012. He has been a member of the (Manchester International Festival, Sadlers Singing Competition, the Bernadette debut conducting Tansy Davies’ Composers music staff of both Welsh National Opera Wells, Toronto and New York City Opera). Greevy Bursary and the BBC NI Young Portrait and has worked with London and English National Opera, as well as with Artists Platform Award sponsored by the Symphony Orchestra, London Sinfonietta, Garsington Opera, Co-Opera company, Collaboration with Richard Jones as Arts Council of NI. A Samling Scholar, London Philharmonic Future Firsts and Opera North, Clonter Opera and the directors and designers: Un Ballo in a Britten-Pears and Internationale Scottish Chamber Orchestra. He conducted Aldeburgh Festival, working with Sir Mark Maschera and La bohème (Bregenz), and Meistersinger Akademie Young Artist, the BBC Symphony Orchestra at the St Elder, David Parry and Edward Gardner Der Zwerg and L’Enfant et les Sortileges, Aoife was also a finalist for the Royal Magnus Festival as well as being Assistant amongst others. (Paris Opera). Overseas League, the Young Classical Conductor for the Discover Dudamel Artists Trust at the Wigmore Hall and the project at the Barbican in March 2013. Antony McDonald, Dance includes: Alice, Cinderella, Sleeping 2013 Veronica Dunne International Singing Director & Designer Beauty, The Nutcracker, Fearful Symmetries, Competition at the National Concert Hall Chris Hopkins, Cheating Lying Stealing (Scottish Ballet), Dublin. Répétiteur Royal Designer for Chor. Ashley Page. In 2014 the world Industry. A member premiere of Ein Reigen for Vienna State Previous roles include Sophie Scholl in Conductor and pianist, of the British Team of Ballet, with Ashley Page. the world premiere of Kommilitonen! by Chris Hopkins has Designers who won Sir Peter Maxwell Davies, Pamina, performed around the Golden Triga at the 2003 Prague Despina, Servilia (La Clemenza di the world, in the last Quadrennale for Ballo in Maschera, Tito), Sophie (Werther), The Governess season appearing as song and instrumental Bregenz, and in 1991 for the 1989 RSC (The Turn of the Screw) and covering Diana accompanist, chamber and solo pianist Hamlet. Winner of Set Design Award for in Diana and Acteon by Jonathan Dove for in Japan, New York, Singapore, South Opera, International Opera Awards 2013. the Royal Opera House Covent Garden.

32 33 Stephen Richardson, Higglety Pigglety Pop! (Cleveland and Purcell’s Dido and Aeneas (Sorceress). He was seen in London as John Worthing Lady Bracknell London / Knussen). With Christian Curnyn and the early in The Importance of Being Earnest at opera company she has recorded Handel’s the Barbican and as Beauty in The Current plans include Recordings include Where the Wild Things , , Flavio and most recently Triumph of Beauty and Deceit at the Ochs Der Rosenkavalier Are‚ title role in Goehr’s Death of Moses . One of Hilary’s proudest boasts is Badischen Staatstheater Karlsruhe, both (Bolshoi‚ Moscow‚ (Unicorn Kanchana)‚ Purcell’s Ode for that she sang backing vocals with the pop works of Gerald Barry. His most recent Hobson Peter Grimes the Birthday of Queen Mary (DG Archiv)‚ group The Divine Comedy on their award and upcoming engagements include (La Scala‚ ROH, Opera North‚ Aldeburgh), A Midsummer Night’s Dream (London winning CD Fin de Siecle. performances at the Wiener Festwochen, Rocco Die Fledermaus (Garsington)‚ Symphony / Sir Colin Davis‚ Philips), the Händel-Festspiele Karlsruhe, the Geronte Manon Lescaut (WNO) and Frank Albert Herring (Chandos) and Stravinsky’s Peter Tantsits, Glyndebourne Opera Festival, the Beijing Die Fledermaus (Korean National Opera). The Flood. John Worthing International Music Festival, Cologne’s ACHT BRÜCKEN Festival, Amsterdam’s His many World Premieres include Adès’s Hilary Summers, Peter Tantsits first Holland Festival, BAM, the Barbican The Tempest (ROH); Tan Dun’s Orchestral Miss Prism attracted international Centre and with New York City Opera. Theatre II‚ Re‚ and Tea (Suntory Hall‚ attention in his debut Tokyo); Barry’s The Triumph of Beauty and Born in Newport, South © Don Freeman at Teatro alla Scala Danielle Urbas, Deceit‚ The Importance of Being Earnest Wales Hilary Summers under Lorin Maazel, and trained as a Assistant Director and The Intelligence Park; Tavener’s Eis studied at Reading violinist before entering his vocal studies Thanaton‚ Resurrection‚ The Apocalypse © Claire Newman- University and the Royal at Yale University and the Oberlin Danielle trained as an Williams and Fall and Resurrection; and the British Academy of Music. Conservatory. His repertoire includes actor at the Drama premiere of Ruders’ The Handmaid’s Tale Specialising in baroque and contemporary new works in addition to high tenor Centre London. (ENO). repertoire she has gained an international roles by Rameau, Mozart, Britten, Ravel, Her acting credits reputation in both spheres. In 2006 she Janacek, Berg, Strauss and Ligeti, and include productions for stage, TV and Recent engagements include Daland The won a Grammy award for her recording he sings Rossini’s La Cenerentola for the film. She has previously assisted Oliver Flying Dutchman (NI Opera)‚ Flint Billy of Pierre Boulez’ Le Marteau sans maitre, first time this season for the Stadttheater Mears on the following productions with Budd (Amsterdam)‚ Sir Joshua Cramer The a work she has performed worldwide Bern. He has worked as a soloist with Second Movement: The Three Wishes Intelligence Park (Dublin)‚ Lady Bracknell with the composer. She premiered Elliot orchestras such as the London Symphony (Tete a Tete August 2010), The Knife’s Tears (Los Angeles Philharmonic‚ Adès Festival)‚ Carter’s opera What next? conducted by Orchestra, the Munich Philharmonic, the (Brno and Prague October 2010), and with Barry’s Schott and Sons‚ Mainz (NCC of Daniel Barenboim at the Staatsoper Berlin; Leipzig MDR Symphony Orchestra, the NI Opera: The Medium (Feb 2010), Ireland‚ Dublin)‚ Commandant From The also Peter Eotvos’ Le Balcon at the Aix China Philharmonic, the Tonkünstler- Orpheus in the Underworld (Scottish Opera House of The Dead and The Adventures Festival, ’s Noises Sounds Orchester Niederösterreich, the Deutsche and NI Opera 2011), Turn of the Screw of Pinocchio (Opera North)‚ Ferrando and Sweet Airs and Facing Goya, George Kammerphilharmonie Bremen, the (2012), and The Flying Dutchman (2013). Il Trovatore (Den Jyske Opera) and Benjamin’s chamber opera Into the little National Symphony Orchestra, the She also assisted Daniel Slater on Fortunio Stromminger La Wally (Opera Holland Hill and Gerald Barry’s The Importance American Symphony Orchestra, and has for Grange Park Opera (2013) Park). Concerts include The Second Mrs of Being Earnest in Los Angeles. Hilary appeared several times with the New Kong (Brabbins)‚ Hansel and Gretel (BBC)‚ works regularly with the leading authentic York Philharmonic, most notably in the In 2012 Danielle made her directorial debut Messiah (Carnegie Hall/ Pinnock)‚ Oedipus instrument orchestras such as Les Arts New York premiere of Ligeti's Le Grand with Zatopek!, a short opera as part of the Rex (Sir Andrew Davis)‚ Nixon in China Florissants with whom she has recorded Macabre under the direction of Alan New Music Festival 20x12 (Epstein theatre, (LSO), Where the Wild Things Are and Handel’s and made a DVD of Gilbert. Liverpool and The South Bank Centre, London)

34 35 Pierre-André Valade, Philharmonic in August 2008 which was Regular concert programmes include Songs La Cenerentola (Glimmerglass Opera), Conductor singled out as one of the three best concerts of Love and other Disasters based on the Die Zauberflöte (Houston Grand Opera), of the year in Japan. In 2008 he again music of and his contemporaries Die Zauberflöte (Opera Colorado), A co-founder of the received the Grand-Prix de l’Académie (released on Avid), Mercy and Grand: The Les Misérables (Copenhagen, Denmark), Ensemble Court- Charles Cros for three recent recordings. Tom Waits Project with Opera North, which Tosca (Canadian Opera Company), Circuit, Pierre-André toured the UK (released on the Gavin La Cleopatra | Oedipus Rex (Oper Graz, © Pham Manh Kien is Chief Conductor In January 2001 he was awarded Chevalier Bryars label). Austria) and Tristan und Isolde with the Athelas Sinfonietta Copenhagen dans l’Ordre des Arts et des Lettres by the (Savonlinna Opera, Finland). and Principal Guest Conductor with the French Minister of Culture. Current engagements include H.K Ensemble Orchestral Contemporain in Lyon. Gruber’s Gloria von Jaxtberg for The Opera Ms. Wood’s work in theatre includes Jessica Walker, Group, and her solo show Pat Kirkwood designs for Young Vic (London), American He is especially well-known for his Gwendolen Fairfax is Angry, including performances at Repertory Theater A( .R.T.), Contemporary th performances of repertoire from the 20 Royal Exchange Manchester and Brits off American Theater Festival CA( TF), st and 21 centuries, and receives regular Jessica Walker studied Broadway 2014. Primary Stages (NYC), NYSF – the Public invitations from major festivals and at the Guildhall School Theatre, Children’s Theatre Company orchestras all over the world. Of his many of Music and has made DM Wood, Lighting Designer – Minneapolis, Alabama Shakespeare recordings, Grisey’s Les Espaces Acoustiques appearances for Opera Festival, Baltimore CenterStage, Trinity has been singled out for particular praise North, Flanders Opera, The Opera Group, Recent designs include: El Chico de Repertory Company and Philadelphia and won both the Diapason d’or de l’année Ravenna Festival, Glyndebourne, National Oz (Teatro Municipal – Lima, Peru); Theatre Company. Ms. Wood’s design for 1999 and the Grand Prix de l’Académie Reisopera, Theatre du Chatelet and Finnish L’Importance d’être Constant (world Suor Angelica (part of Il trittico at the Royal Charles Cros. His more recent recordings National Opera. premiere: Opéra National de Lorraine – Opera House) won the U.K.’s 2012 Knight include works by Hugues Dufourt (also Nancy, France); L’Enfant et les Sortilèges of Illumination Opera Award. given a Diapason d’Or in 2008), and In 2010 she co-created her solo show The (The Bolshoi), Il trittico (Royal Opera on Deutsche Grammophon Harrison Girl I Left Behind Me with director Neil House, Covent Garden), Wild Swans Upcoming designs include: Candide Birtwistle’s Game. Bartlett. Commissioned and premiered at (world premiere: Young Vic, London (Opéra National de Lorraine), Opera North the show has had considerable and American Repertory Theater), Anna La Favorite (Oper Graz), Salome In the past few years he has conducted critical and commercial success at venues Nicole (world premiere co-design: Royal (Opera Philadelphia), Euryanthe many different orchestras in a wide range throughout the UK, including a week-long Opera House, Covent Garden), Anna (Bard SummerScape), Anna Bolena of repertoire from Berlioz, Wagner, Verdi, residency at the Barbican’s Pit Theatre in Bolena, Werther, Maria Stuarda, Roberto (Lyric Opera of Chicago) and Norma Mahler, Ravel, Debussy, Saint-Saëns and 2011 and a three-week run at the Brits Off Devereux, Il Barbiere di Siviglia, and Il (San Francisco Opera) Stravinsky to Berio, Birtwistle, Boulez, Broadway Festival in New York. It was trovatore (Minnesota Opera), Die Liebe Carter, Lachenmann, Stockhausen, as well published as a play script by Press der Danae (Bard SummerScape), Moskva, as numerous pieces by composers of the in November 2011 and will be released as a Cheremushki and The Sound of a Voice younger generation, notably composers of CD in 2014. Hotel of Dreams (Long Beach Opera), the French Spectralist school. Roberto Devereux (Opéra de Montréal), Her opera An Eye for an Eye, co-written Annie Get Your Gun (co-design: Young Vic, Highlights from his recent appearances with composer David Knotts, premiered at London), include a concert with the Tokyo the 2013 Bath International Music Festival.

36 37

Noye’s Fludde, August & October 2012 “There’s a real buzz and sense “An enchanting show” – The Sunday Times of purpose about what this “Simply gorgeous” – Irish Times company is doing” – The Guardian NI Opera Shorts, June 2012 Award-winning NI Opera was formed in 2010, Founded in 2012, Artistic Director - Fergus Sheil with a mission to provide the highest quality “Remarkable...each opera was skillful, provoking Executive Producer - Gavin O’Sullivan opera to the widest possible audience, and laughter as well as sorrow” – The Observer Wide Open Opera’s mission to promote young Northern Irish talent. PO Box 8602 Dublin 8 “(NI Opera’s) most ambitious project so far, NI is to present new experiences Generously supported by the Arts Council of www.wideopenopera.com Opera Shorts was another resounding success” Northern Ireland, NI Opera has a philosophy for opera goers through the www.facebook.com/wideopenopera of excellence and risk-taking underpinned – Opera Journal presentation of major works Twitter: @wideopenopera by an imaginative programming policy and of the opera repertoire and first-rate casting. NI Opera is committed to The Turn of the Screw, March & July 2012 broadening the audience for this incredible art the championing of new work Forthcoming Productions form that famously combines exciting stories, “This is a first-rate cast…It’s a Screw that any big spectacle, and great music. company would be proud to tour. From a in partnership with a range of In May 2014, again in the Bord Gáis Energy company that is barely a year old, it’s remarkable” Irish writers, composers and Theatre, we present the Irish premiere of Artistic Director - Oliver Mears – The Independent on Sunday John Adams’ opera Nixon in China, General Manager - Clíona Donnelly opera practitioners. a seminal contemporary opera which has “An extraordinarily good cast…this was very been seen the world over. This visually Marketing & Communications Director - impressive stuff” – Opera Now stunning production with high-tech sound Simon Goldrick Previous Productions and video has been staged in Vancouver Interim Company Manager - Aisling Sullivan Hansel and Gretel, November 2011, and San Francisco in 2010 and 2012. January & November 2012 Tristan und Isolde, September 2012 For further details, WOO’s inaugural performance of Wagner’s “Lively, funny and provocatively gruesome”– Next summer we will also be out on see www.niopera.com Tristan und Isolde took place at Dublin’s The Sunday Times the streets with a Dublin City Council Bord Gáis Energy Theatre. commission of 5 operas, each of five Previous productions “A feisty staging of Humperdinck’s opera…Northern minutes duration, by Brian Irvine (music) Ireland Opera continues to punch above its weight” “A Tristan und Isolde to cherish” - Irish Times and John McIlduff (text). L’Elisir d’Amore, September 2013 – The Independent on Sunday “A real tour de force” – Irish Times “Oh, the power and the glory of it all! …. We have many further operas in The power was soprano Miriam Murphy “Among the most heart-warming and well- development and we aim to continue Orpheus in the Underworld, October 2011 …..The glory was for Wide Open Opera” thought-out Elisirs you could hope for” – to provide unique experiences for - Sunday Business Post Opera Now “Flamboyantly irreverent” – The Guardian Irish audiences. “A raucously enjoyable affair, staged with energy John Adams: Nixon in China The Bear, March 2013 and imagination”– The Daily Telegraph The Alma Fetish, September 2013 11, 14, 17 May 2014 “A richly enjoyable and entertaining Bord Gáis Energy Theatre A world premiere performance of The Alma production” – Opera Magazine Fetish by Raymond Deane (music) and www.bordgaisenergytheatre.ie Tosca (Best Opera winner at the 2011 Gavin Kostick (text) at the National Concert “The quality of the singing and acting was Irish Times Theatre Awards), March 2011 Hall, Dublin. excellent...an effervescently enjoyable “A remarkable achievement…the results breathed evening” - Belfast Telegraph charisma and conviction” – The Times “I suspect nothing on Ireland’s opera stage this year will equal this remarkable The Flying Dutchman, February 2013 “Remarkable…wonderful…the audience were on achievement” - Sunday Business Post “An achievement of which Wagner their feet and roaring their approval even before the himself would no doubt have been proud” curtain fell” – Opera Journal - The Telegraph

“A thrilling Wagner debut” - The Independent The Medium, February 2011

on Sunday “A spine-tingling tale of trickery and suspense” “Electrifying” - The Observer – Belfast Telegraph

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