Programs

Noorda


UVU Music Department Presents

L’importanza di essere Onesto

Composer, Pianist, & Music Director Nicolas Giusti
Libretto by Paola Federici Bidinelli
Directed by Dr. Isaac Hurtado
Production Assistant Lauryn Moscon
Rehearsal Pianist & Supertitle Operator Ashley Vazquez
Supertitles by Connor Leavitt & Lauryn Moscon

CAST

Agenore DANIEL PEREZ
Lane MATT BROWER
Jack KADE BENNETT
Lady Bracknell CARLIE BECKERT
Gwendoline HANNAH JENSON, CAITIE BRYNER*
Miss Prim VICTORIA MANCUSO
Cecily LOUISE FRAZIER, LINNEA MOTT*
Chasuble SAMUEL PLUMB, JOSH HOOKER*
Merriman JOSHUA SCRIBNER

* Performs 9/19

 

CHORUS

ALICE PACKARD
TALIA DIAZ
ELLIZABETH EDDY
PATRICE GARRIGUES
JUNE SPERRY
CRISTINA VILLALOBOS
CONNER LEAVITT
ANDREA CHURCH BRISCOE

BRYAN WEATHERSTON
TRAVIS LUNT
SAM WEST
BRITTNEY STRADLING
SIERRA BEAN
JAKE HEYWOOD
MADALYN BARAZOTO

SYDNEY PEXTON
MALLORY KEELE
HOPE KITCHENS
SOPHIA CHOATE
MEADOW ALEXANDER
TACI MINER
CHRISTIAN HOLDEN
KAMRYN JONES

Act I
Algernon Moncrieff’s fashionable London apartment
Act II
John Worthing’ s (Jack) country home, the garden
Act III
John Worthing’ s (Jack) country home, the garden

ACT I

Bachelor Algernon Moncrieff is expecting a visit from his Aunt August (Lady Bracknell) and his cousin Gwendolyn Fairfax. Algernon’s friend, Ernest Worthing, arrives to announce that he intends to propose to Miss Fairfax. Algernon confronts Ernest, and reveals that he stole a cigarette box from Ernest with an inscription “From little Cecily with her fondest love to her dear Uncle Jack.” Flustered, Ernest explains that Cecily is his ward that lives at his country house and that his real name is John Worthing, but he goes by Jack. Mr. Worthing lives a double life. In the country he is a responsible adult with a mischievous brother named Ernest that lives in London. In the city he lives an extravagant life under the identity of Ernest. Algernon confesses he also lives a double life. When he wants to get out of his social obligations, he takes a visit to his “chronically sick friend” named Bunbury. Just as Jack tells Algernon that he is under no circumstances invited to his country home, Lady Bracknell and Miss Fairfax arrive. Lady Bracknell invites Algernon to a social engagement, and he uses the excuse that his friend Bunbury is sick and he must visit him in the country. Algernon distracts Lady Bracknell while Jack proposes to Gwendolyn. Jack tries to tell Gwendolyn his real name but Gwendolyn insists that she could never love anyone unless they were named Ernest. Lady Bracknell discovers Jack proposing and begins to interrogate him about his birth circumstances. Jack admits that he was adopted after he was found as a baby, abandoned at a train station. Shocked by this information, Lady Bracknell forbids Jack and Gwendolyn to marry. As they leave Gwendolyn promises to be faithful to Jack. Algernon overhears Jack give his country address to Gwendolyn.

 

ACT II

Cecily Cardew studies in the garden, supervised by her governess, Miss Prism. Reverend Chasuble awkwardly flirts with Miss Prism and the two decide to take a stroll. Algernon Moncrieff arrives and introduces himself to Cecily as her Uncle Jack’s brother, Ernest. The two flirt, and quickly fall in love. Miss Prism and the Reverend  return just as Jack arrives to announce that his brother Ernest is dead and that he would like to be rechristened. Cecily greets Jack and proclaims that Ernest is not dead. Algernon walks in to reveal the farce. Jack privately confronts Algernon and tells him to leave. Algernon instead proposes to Cecily as Ernest. He tries to admit his true identity but Cecily tells him she could never love anyone who wasn’t named Ernest. Algernon leaves Cecily to meet with Reverend Chasuble to schedule an emergency christening. After Algernon exits, Gwendolyn Fairfax is announced and introduces herself to Cecily. The two ladies quickly discover that both of them are engaged to Ernest. When Jack and Algernon come back, the two men are forced to uncover their deception. The ladies are outraged, and Jack tells Algernon to leave.

 

ACT III

Algernon and Jack apologize to Cecily and Gwendolyn. They tell the ladies they plan on being rechristened. Lady Bracknell arrives looking for Gwendolyn. She is surprised to see Algernon, and he responds by telling her that his friend Bunbury died and that he is engaged to Cecily Cardew. Lady Bracknell inspects Cecily and approves the marriage. Jack is outraged that Lady Bracknell would consent to Cecily and Algernon’s union but not to him and Gwendolyn. Reverend Chasuble enters to tell the men they can not be rechristened. After chastising them, he announces he plans to return to the vestry where Miss Prism is waiting for him. Lady Bracknell recognizes Miss Prism’s name and unveils that Miss Prism is the nurse who lost her older sister’s (Algernon’s mother) first born child. Miss Prism confesses that she left the baby in a handbag at the same train station where Jack was discovered. Jack produces the handbag proving that he is a Moncrieff and Algernon’s brother. The only question that remains is what is Jack’s real name? Lady Bracknell tells everyone that Jack was to be named after his father. Jack finds a volume of the army registry and discovers that his father’s first name was Ernest. The couples happily unite! 

COMPOSER’S NOTE

This opera was born thanks to the great esteem I have for the composer Gian Carlo Menotti. In Monte Carlo, 1994, I was Menotti’s assistant conductor and pianist for a production of his opera The Consul. During that time I grew close with Menotti and became fascinated by his great mastery of combining music with drama. I told him that I would like to compose a work with the same awareness and fluidity. He replied, “Then let’s go.” Menotti’s faith in me gave me the courage to write what my heart dictated to me.

Nicolas Giusti

LIBRETTIST’S NOTE

The libretto of this opera is a reduction of the original play, The Importance of Being Earnest, a Trivial Comedy for Serious People by Oscar Wilde.  The text of this musical comedy aims to represent the main motifs of the original work, such as the paradoxical irony typically found in Wilde’s eloquence and refined language.

Wilde’s word play, with double meanings and allusions, mocked those foundational virtues of respectability that built the social scaffolding of Victorian England. One of the most obvious uses of word play is in the use of the name and the word, “Earnest”. The ironic paradox lies in the fact that if the word changes, the substance also changes. What matters is not the person himself, but the name they bear. Not having a proper name is like not casting your shadow on the earth. Despite the situational comedy, there is a tragic perversion in this message: a man without a shadow is a man without an identity.

Those who know Oscar Wilde should not have any difficulties understanding both the comedy and the tragedy within the play. The “comedy for serious people” is elusive. This elusiveness grants the audience the choice to see the play as a frivolous comedy for light people or a light comedy for thinking minds. In Oscar Wilde’s own words, “The world has always laughed at its own tragedies and this is the only way it has managed to endure them; consequently, everything that the world has treated in a serious way belongs to the comic side of things.”

Paola Bidinelli

*** Broken a:259172 UVU_Public_Site: noorda-production-staff ***