I was delighted to find that the New York-based Aquila Theatre Company was returning to Bermuda for this year's Festival.There are still images ingrained in my mind from their marvellously creative performance last year of 'Wrath of Achilles' with its vividly cinematic, somewhat disturbing vignettes and sounds of modern war.

Aquila's approach to this year's performance of Oscar Wilde's clever satire 'The Importance of Being Earnest' understandably did not produce the sensory feast of last year's show but it was totally satisfying and refreshingly unconventional nonetheless.

The minimalist set was comprised of simple white wicker furniture that was re-arranged by the cast with the simplest of props added to suggest changes in city and country location.The acting was superb and the staging stamped with the director's strong vision.

In the play two friends, Algernon and Jack, have created fictitious characters who they use as excuses to visit the country and city, respectively.

Jack informs his ward, Cecily and the rest of his acquaintances and help in the country that he is visiting his brother Earnest whilst assuming the identity himself in the city.

During such a visit, Algernon discovers Jack's ruse and learns of his young ward. Algernon then informs Jack of the fabricated paraplegic friend whom he visits in the country. After the confessions Jack proposes to Algernon's cousin Gwendolen whose mother forbids the engagement when she discovers that 'Earnest' does not know who his parents are.

Later the carefree Algernon visits Jack in the country pretending to be his imaginary brother Earnest, falls in love with Cecily and proposes.

In the tradition of good farce everyone involved converges at Jack's home and there are mistaken identities, miscommunications and secrets revealed before all ends well.

Aquila seems to be a company that has the utmost respect for the words of a piece and staging, lighting and theatrical devices appear to be intent on magnifying the nuances of the script.

In the case of this interpretation of Oscar Wilde's play, the two dimensional characters were exaggerated and, using music, movement and lighting to stress particular points, the effect created at times was somewhat like a television sitcom.

In between scenes pop music was utilised along with mimed action or silly dancing to suggest the passage of time. This device was inventive and interesting, serving to make the production even funnier and also place it in a more modern context.

I enjoy this company's ability to give theatre a film quality. I imagine that this convention must make the work much more accessible to young people. In fact this year as well as last I wished that more teenagers were in the audience. I believe that the Aquila Theatre Company can make theatre in general and the classics in particular come alive for them. Perhaps the next time Aquila is here a special show for schools will be organised.

ALANSMITH