St Ninian’s Hall (Venue 230): Tues 4 – Sat 16 Aug 2025
Review by Hugh Simpson
Edinburgh Theatre Arts provide a very well judged production of Oscar Wilde’s A Woman of No Importance at St Ninian’s throughout the first fortnight of the Fringe.
Wilde’s 1893 play is perhaps the least well-regarded of his society comedies, having elements of tragedy in among the humour that makes it redolent of Chekhov. It deals with the charming, hypocritical operators of English high society, and with Mrs Arbuthnot, who has kept the paternity of her child Gerald secret for many years.
Lisa Moffat and Stuart Mitchell (standing) with Kerry Trewern, Angus Shearer, Danny Farrimond and Cat Scott.
Pic: Finlay Black.
It is refreshing to see a production of Wilde which finds a balance between the comedy and the drama. Too many recent attempts have either milked the humour beyond the point of camp exaggeration, or ignored the jokes altogether – sometimes by taking the play at breakneck speed.
That so many of this play’s lines have become famous as aphorisms without anyone knowing their origin does give some of the dialogue an artificial feel. This is overcome here by director David McCallum, who achieves a rare naturalism while retaining the laughs.
sure touch
He directs with a sure touch, gives the words room to breathe, and is rewarded with a series of fine performances. Janey Grant’s Mrs Arbuthnot is a wonderfully contained characterisation with not a little tragedy to it.
Danny Farrimond and Janey Grant. Pic: John McLinden.
Danny Farrimond positively relishes every statement of the amoral Lord Illingworth. As well as being a real-life forerunner of the internet troll, he is the secret father of Mrs Arbuthnot’s son Gerald – who is played by Cat Scott with a naive charm.
There is a similar glee displayed in the cynical humour of Mrs Allonby, played with poise by Kerry Trewern (a role she shares with Kirsty Doull).
domineering
Expert comic timing is displayed by Mags McPherson as the domineering Lady Caroline Pontefract and Kelly Donaldson as the absent-minded Lady Hunstanton.
Mags McPherson, Kelly Donaldson, Sheila Thomson, Malcolm McFadyen and Lis Moffat. Pic: John McLinden.
Lisa Moffat’s timid, giggly Lady Stutfield is another fine comic performance, while Derek Marshall’s hangdog Archdeacon Daubney is well judged. Angus Shearer, Stuart Mitchell and Malcolm McFadyen bring spirit and humour to their various roles without ever sacrificing believability.
The only character permitted to see through the foibles of the upper classes is an outsider, the American Hester Worsley. The role can come over as an overly pious bore, but Caitlin Christmas invests her with real sympathy. Sheila Thomson plays two contrasting servants diligently.
stateliness of pace
Ian Cunningham’s sound and lighting, operated by Simon Hirst and Colin MacPherson, are atmospheric. Finlay Black’s set is evocative and versatile, although its re-dressing in the middle of each half of what was originally a four-act play takes too long for comfort.
Indeed, the stateliness of the pace is the production’s biggest drawback, with a piece that is already slow taking too long to play out. However, this is a price with paying for a production which gives a play whose concerns are still sadly relevant the respect it deserves.
Running time: Two hours and 20 minutes (including one interval).
St Ninian’s Hall, 40 Comely Bank, EH4 1AG. (Venue 230).
Tuesday 4 – Saturday 16 August 2025.
Mon – Fri: 7.30pm; Sat: 1pm & 6pm
Tickets and details: Book here on EdFringe.com.
Edinburgh Theatre Arts website: www.edinburghtheatrearts.com
Facebook: @edinburghtheatrearts
Instagram: @edinburgh_theatre_arts
X: @edinTheatArts
Mags McPherson, Kelly Donaldson, Stuart Mitchell and Lisa Moffat. Pic: Finlay Black.
Angus Shearer, Kelly Donaldson, Derek Marshall and Janey Grant. Pic: John McLinden.
ENDS