An Ideal Husband by Oscar Wilde – ★★★★☆
What has been will be again and what has been done, will be done again. There is nothing new under the sun” is a proverb originating from the biblical book of Ecclesiastes. This proverb sits beautifully in describing this play.
First performed at the Haymarket Theatre in 1895, the play feels as “original” as it was described to be almost 130 years ago. With several stage and film adaptations in the past, An Ideal Husband at the Lyric Hammersmith feels so relevant to modern life, beyond its contemporary take and modern setting. The production carefully blends what is old with what is new.
Written by Oscar Wilde, An Ideal Husband explores themes such as morality, political corruption, forgiveness, marriage and the danger of ideals. At the heart of it, it is a romcom that presents the idea of perfection and challenges it in a way that is so humanising you might just put yourself in the actors’ shoes. A core joy of this play is that though there are many overlapping themes, none of them feel overwhelming or at odds with one another. Rather, they are woven together intricately as they raise questions on integrity and principle.
The first act introduces us to Lord Robert Chiltern (Chiké Okonkwo) and his wife, Lady Chiltern (Tamara Lawrance), who are hosting a party for their friends. In attendance are a few other dignitaries, including Mabel Chiltern (Tiwa Lade) and the eligible bachelor Lord Goring (Jamael Westman). As the night picks up, a lady in red walks in, keen to do business with Lord Chiltern. Aurora Perrineau is introduced to us as Mrs Cheveley, a woman carrying information powerful enough to threaten Chiltern’s entire life. What follows is an exploration of ideals versus identity, the effects of blackmail and how truth may truly be our greatest possession.
Through Nicholai La Barrie's direction, the play feels undeniably modern and relevant. References to pop culture, from Soho House to Meghan Markle, sit alongside Wilde’s original dialogue. The production moves fluidly between time periods without fully grounding itself in either. This not only highlights the strength of Wilde’s writing, but also La Barrie’s ability to make it resonate with contemporary audiences. Though the pacing is initially slow, it steadily finds momentum.
As Lord Chiltern, Chiké Okonkwo is bold and passionate, grounding the character with an emotional honesty that allows the audience to sympathise with him throughout. Jamael Westman as Lord Goring is a delight to watch. He settles comfortably into the role of the charming bachelor, though it is clear there is far more beneath the surface. As a friend to the Chilterns, he is dependable, charismatic. As a lover to Mabel, he is electric whilst still carrying an undeniable charm. The most compelling moments happen with Westman in the middle. Whether it’s between him and Okonkwo alone, or as a trio with Tamara Lawrance, it is captivating and beautiful to witness the emotional weight carried on stage.
The rest of the cast are beautifully in sync. As Lady Chiltern, Tamara Lawrance navigates a complex emotional journey, embodying both vulnerability and maturity as the play progresses. Aurora Perrineau’s Mrs Cheveley is composed and controlled, though at times her restraint borders on flatness. Still, much of the character’s dominance comes from that calm exterior and intimidating presence.
Emmanuel Akwafo is brilliant as both Mason and Phillip navigating two very different energies with ease. As Mason he says very little but leaves huge statements. As Phillip, he doesn't stop talking, is cheeky yet his humour is consistent between both characters. Tiwa Lade’s Mabel Chiltern brings charm and charisma to the stage, she is funny, witty and an all round joy to watch. Jeff Alexander as Earl of Caversham alongside Suzette Llewelllyn as Lady Markby, also contribute with supporting performances that sustain the social satire of Wilde’s writing.
From the offset, it was clear there would be much dancing and celebration woven throughout the play. Holly Khan’s sound design sets the tone immediately, contributing to the contemporary feel of the production through the use of hip-hop, jazz and R&B. The music transitions between scenes seamlessly and becomes a key part of the atmosphere established from the very beginning, with nods also owed to Alexzandra Sarmiento’s movement direction. Additionally, Zeynep Kepekli’s lighting design adds another layer of richness and colour to the show, elevating an already beautiful setting.
It would be remiss not to touch on Rajha Shakiry’s set and costume design. Each aspect of the stage comes into itself as the play unfolds. Through the use of the hanging curtain Shakiry creates fluid entrances that keep the production moving with ease. The costumes feel entirely suited to both the cast and Nicaelai La Barrie’s rendition of An Ideal Husband, and it is beautiful to see how every creative element contributes to the production as a whole.
Life needs to be understood and lived with grace and truth hand in hand, and this revival of An Ideal Husband strikes the chord on this loud and clear. It feels as though the company set out with a clear intention and fully achieved it.
The audience remains engaged throughout, at times even interacting with the performance. We are invited into a space of continual reflection, prompted to confront the questions being posed. “A new and original play on modern life” may not feel as new as it once did when it was first performed, but this rendition still feels distinctly original to modern life as we know it.
★★★★☆
By Eniola Edusi
An Ideal Husband is showing at Lyric Hammersmith until 06 June