See it if You are an Oscar Wilde fan. Imaginative parody with fun characterizations and an amusing premise. Dated, charming and very enjoyable.
Don't see it if You have no interest in Oscar Wilde or British Drawing Room comedy.
See it if You’d like to see a sly sequel to “The Importance of Being Earnest” that blows the cover off Victorian prudery.
Don't see it if You hate contrivance or artificiality: This play, like the original “Earnest,” revels in both. Read more
See it if It was very entertaining throughout especially if you know Importance of being Ernest.
Don't see it if Lots of dialog doesn't appeal. Read more
See it if If you are a fan of TIOBE. If you want a fun update for the women of this story! Well written, full of laughs, great costumes, playful cast
Don't see it if Looking for something serious, or contemporary or not a Wilde fan.
See it if You liked the original “Ernest”. You want to see a fun sequel with period costumes and inspired dialogue. If you want to laugh.
Don't see it if Want high drama. If you don’t like Oscar Wilde. If you can’t keep track of multiple characters. If you don’t want to laugh.
See it if Alice Scovell’s clever and witty sequel to Earnest is a wild(e)ly entertaining delight. Performances do the writing justice, and then some!
Don't see it if If drawing room farce is not your thing, or you get squirmy in seats without armrests.
See it if You like delightful and droll comedies that is inspired by Oscar Wilde. Sharp writing, charming and gifted actors, and a beautiful set.
Don't see it if If you are not a fan of Oscar Wilde or only like drama.
See it if You like witty, well written farces. This is a clever, well constructed comedy, acted with great comic timing. Lots of fun!
Don't see it if You like big production shows, serious dramas, or very modern plays. This is an old fashioned drawing room comedy.
“The Rewards of Being Frank has the main problems of so many sequels: Why does it exist? What did Wilde leave unsaid that needs further explication? How can one hope to approximate his singular wit? But Pedi is a delight, even when forced to contend with a revelation about Lady Bracknell that makes a hash of the character as we have always known her. One can suddenly imagine the actress in any number of high comedy roles. Bring them on!”
"Were Wilde, a Francophile, on hand to see his masterpiece reduced to a tiresome French farce, he would no doubt be freshly mortified."
While Stephen Burdman’s direction keeps the play moving swiftly along, the mannered acting and forced dialogue only draws attention to itself. None of the play’s new inventions rival that of Oscar Wilde’s original. Too many of the events of the play are watered-down versions of cleverer things in "Earnest." "The Rewards of Being Frank" is an interesting attempt to write a sequel whose results do not justify the effort in bringing it to the stage.
“The play’s pace would benefit from a teensy bit of waxing and waning...I would love for the actors to relish their lines more. This is a mere quibble, however, as the overall effect is one of delight.”
This is playwright Alice Scovell’s affectionate, clever and faithful sequel to Oscar Wilde’s 1895 classic play, The Importance of Being Earnest, that is set seven years later. Ms. Scovell replicates Wilde’s characters, milieu and sensibility, with skillfulness, brio and novelty. The dizzying second act finale is right out of Wilde’s playbook. Christine Pedi is triumphant as Lady Bracknell in this beautiful presentation.
“ ‘The Rewards of Being Frank,’ gets a few things right and several things wrong, and it’s not the strongest production that New York Classical Theatre has ever done...See and enjoy, and if you’re somewhat disappointed, focus on Christine Pedi.”
“When the show starts, they may be slouching in a semi-recumbent posture. Soon, though, the enjoyable comedy of (bad) manners will have them sitting up – in earnest.”
“ ‘The Rewards of Being Frank’ is an unrepentant pastiche of Oscar Wilde’s style, even borrowing many plot themes from the original... While much of the ethos remains in period, writing in 21st century, Ms Scovell feels obliged to introduce a feminist twist, while Algernon’s campness is overt to the point where it cannot be wholly unintentional.”