Overview
Synopsis
Ernest in Love is the musical version of Oscar Wilde's The Importance of Being Earnest. Two aristocratic young men use fake names to escape social obligations, which eventually lands them in hot water. Jack claims to have an irresponsible brother named Ernest, who is making trouble in London. This allows him to repeatedly slip away from his palatial country estate (and from his ward Cecily). Posing as Ernest, Jack courts the lovely Gwendolyn. Jack confesses his charade to his chum Algy, who in turn admits that he uses an imaginary sick friend called Mr. Bunbury to get out of dining with his aunt, Lady Bracknell, who happens to be Gwendolyn's mother. Of course, mischief ensues and one gets mistaken for another, but after the fun and confusion, there is indeed a happy and earnest ending. This musical, just as the play and novel, operates as a comedy of manners. It was first produced on May 4th, 1960 and went on to have 103 performances.
Show Information
- Book
- Anne Croswell
- Music
- Lee Pockriss
- Lyrics
- Anne Croswell
- Conceived By
- Oscar Wilde
- Based on the Play/Book/Film
- The Importance of Being Earnest
- Category
- Musical
- Age Guidance
- Thirteen Plus (PG-13)
- Number of Acts
- 2
- First Produced
- 1959
- Genres
- Comedy
- Settings
- Period
- Time & Place
- Victorian Era. London.
- Cast Size
- medium
- Orchestra Size
- Small
- Dancing
- Some Dance
- Licensor
- Music Theatre International
- Ideal For
- Community Theatre, High School, College/University, Ensemble Cast, Mostly Female Cast, Includes Adult, Mature Adult, Young Adult Characters, Medium Cast
Context
Plot
Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Tenor |
|
|
Lead |
Male |
Tenor |
|
|
Lead |
Female |
Soprano, Mezzo-Soprano |
|
|
Lead |
Female |
Soprano, Mezzo-Soprano |
|
|
Supporting |
Male |
Baritone |
|
|
Supporting |
Female |
Mezzo-Soprano, Alto |
|
|
Supporting |
Female |
Alto |
|
|
Supporting |
Male |
Bass, Baritone |
|
|
Featured |
Male |
Baritone |
|
|
Featured |
Female |
Soprano, Mezzo-Soprano |
|
|
|
Female |
|
|
|
|
Female |
|
Songs
Act One
- Come Raise Your Cup - Lane, Perkins, tradesmen
- How Do You Find the Words? - Jack
- The Hat - Gwendolyn, Alice
- Mr. Bunbury - Algernon, Jack
- Perfection - Jack, Gwendolyn
- A Handbag is Not a Proper Mother - Lady Bracknell, Jack
- Mr. Bunbury (Reprise) - Algernon
- A Wicked Man - Cecily
- Metaphorically Speaking - Miss Prism, Dr. Chasuble
- A Wicked Man (Reprise)
Act Two
- You Can't Make Love - Lane, Effie
- Lost - Algernon, Cecily
- My Very First Impression - Gwendolyn, Cecily
- The Muffin Song - Jack, Algernon
- Eternal Devotion - Gwendolyn, Cecily
- A Handbag is Not a Proper Mother (Reprise)
- The Muffin Song (Reprise) - Jack, Algernon, Gwendolyn, Cecily
- Ernest In Love - Company
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
A version of a work modified from another medium or language, making it suitable for a new performance context.
A Comedy of Manners is a dramatic genre that satirizes the customs, behaviors, and social norms of a particular class or group, often through witty dialogue and clever banter. It typically focuses on relationships, courtship, and social pretensions, exposing human vanity and hypocrisy. This style thrives on sharp humor and quick repartee, making it both entertaining and socially revealing.
A period of artistic flourishing, often referring to 1940s-60s Broadway or English Renaissance theatre. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
Broadway musicals from the 1940s–60s, known for integrating plot and song, such as *Oklahoma!* and *The Sound of Music*.
A common plot device in which one character is confused for another, often leading to comedic or dramatic consequences. This trope is widely used in English Renaissance and Commedia dell’arte theatre.
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Guide Written By:
Alex Morrison
Professional actor from the Metro-Detroit area