An ideal husband: A 1895 stage play by Oscar Wilde

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a b Edwards, Owen Dudley (2004). "Wilde, Oscar Fingal O'Flahertie Wills (1854–1900), writer". Oxford Dictionary of National Biography (onlineed.). Oxford University Press. doi: 10.1093/ref:odnb/29400 . Retrieved 29 January 2023. (Subscription or UK public library membership required.) Baker, Kurt (14 May 1992), The Importance of Being Earnest (Comedy), Electric Concepts, Paco Global , retrieved 29 January 2023 Sergei Prokofiev wrote his opera Maddalena to his own libretto based on a play by Magda Gustavovna Lieven-Orlov written under the pen name Baron Lieven. That play was in turn based on Oscar Wilde's play. The opera had its premiere in a BBC studio recording in London in 1979; and its first live staging was in Austria in 1981. Raby, Peter (1995). The Importance of Being Earnest – A Reader's Companion. New York: Twayne. ISBN 978-0-8057-8588-3.

George VI was not the first British king who had attended a performance of the play: his grandfather Edward VII, when Prince of Wales, was in the audience for the first production. [51]

THEATRE ROYAL, HAYMARKET

Atkinson, Julia. "An author not just now familiar to ears polite". The Wildean, A Journal of the Oscar Wilde Society, July 2015, p. 21. a b c Bostridge, Mark. " Earnest the musical? Earnest the sequel? Don't laugh...", The Independent on Sunday, 1 September 2002 The Importance of Being Earnest (1964)". British Film Institute. 12 September 2015. Archived from the original on 12 September 2015 . Retrieved 29 January 2023.

Algernon: Well, I can't eat muffins in an agitated manner. The butter would probably get on my cuffs. Leonard Bernstein / Carol Burnett / Rex Harrison / The National Theatre Company of Great Britain / The Negro Ensemble Company (1969)

Ransome argues that Wilde freed himself by abandoning the melodrama, the basic structure which underlies his earlier social comedies and basing the story entirely on the Earnest/Ernest verbal conceit. Freed from "living up to any drama more serious than conversation, " Wilde could now amuse himself to a fuller extent with quips, bons mots, epigrams, and repartee that really had little to do with the business at hand. [94] Jill Matthews, Good and Mad Women: The Historical construction of femininity in Twentieth Century A (...) Russell, Bindon (July 1995). "Commemorative Plaque at the Theatre Royal, Haymarket". The Wildean (7): 9–13. ISSN 1357-4949. JSTOR 45269165. Hart-Davis, Rupert; Lyttelton, G W (1978). Rupert Hart-Davis (ed.). Lyttelton–Hart-Davis Letters, Volume 1. London: John Murray. ISBN 978-0-7195-3478-2. The play was published in 1899 in an edition of 1000 copies; Wilde's name was not printed: the work was published as "By the author of Lady Windermere's Fan". [6] It is dedicated to Frank Harris, "A slight tribute to his power and distinction as an artist, his chivalry and nobility as a friend." [7] The published version differs slightly from the performed play, as Wilde added many passages and cut others. Prominent additions included written stage directions and character descriptions. Wilde was a leader in the effort to make plays accessible to the reading public. [8] Original cast [ edit ] 1895 programme