Petaluma Argus-Courier from Petaluma, California • 21

ARGUS-COURIER, Petoluma, Calif. Wednesday, April 4, 1984 7B 'Earnest9 blends talent, energy scott's world Best Oscar audience performance by vernon scott By KARLA HAFNER Argus Courier Theater Critic Blending genuine talent with well-guided energy, the Sonoma Vintage Theater distinguishes itself in its current production of the Oscar Wilde classic, "The Importance of Being Earnest." Under the direction of Petaluman Sheila Madden, the players seem to also recognize the importance of being entertaining. The various personalities that make up the cast of characters are introduced to the audience gradually, giving the audience time to get to know (and enjoy) each diverse character. Algernon Moncrieff (played by John Perry) and his manservant Lane (A. Lee Moore) are introduced first, involved in a discussion of marriage.

Through the combined effort of Wilde's witty dialogue and the comic ability of both Perry and Moore, the audience is drawn into the satirical world of the play. Next to appear is the character of John "Jack" Worthing (played by Jeff Brink) a rather foppish country gentleman whose verbal sparring with Algernon provides the dramatic tension (and most of the laughs) in the play. In the first act we learn that John (Jack) Worthing has made up a kind of "alter ego" for himself while visiting his friend Algernon in the city. He calls himself "Ernest" in the city, "Jack" in the country. In this way he can blame any unseemly behavior on his "brother" Ernest if news of a "Mr.

Worthing" misbehaving should ever reach his lovely ward, 18-year-old Cecily Cardew (Mary Beth Celio) and her governess, Miss Prism. In one of Algernon and Jack's rare moments of agreement, Algernon admits that he also has an alter ego an invalid who is a convenient excuse to keep him out of family functions, such as dinner with his aunt, the formidable Lady Bracknell (Monica McKey.) Brilliantly costumed by designers Magrita Klas-sen and James Swindt, Lady Bracknell's lavish hats and elaborate dresses are a show in themselves. McKey, however, does not seem overly dressed-up, but carries herself with dignity and is truly believable as Lady Bracknell. Introduced with Lady Bracknell is her daughter, the lovely Gwendolen Fairfax, who turns out to be Jack's paramour. Gwendolen "loves" Jack chiefly because she believes his name is "Ernest," a name that "vibrates" with meaning (as she says.) Lauralee Davis-Bailey is breathtaking in her pastel costumes and is every bit the coquettish (and somewhat vain) society debutante.

The fun really begins when Algernon decides to pay a visit to Jack's country house while Jack is away, posing as Jack's "troubled" brother Ernest in order to meet Jack's ward, the pretty Cecily Cardew. Cecily, depicted by Mary Beth Celio, demonstrates a particularly amusing talent for faraway wistful looks and some strange romantic ideas. The quality of the performance can really be measured, however, by the fact that even the somewhat "minor" characters such as Miss Prism (Barbara Brink,) the Rev. Canon Chasuble (John McTeer) and Merriman (Algernon's butler) Lane (Jack's butler) (both played by A. Lee Moore) are in no way played by "minor" talent.

This production carries professionalism from the central characters through the minor characters and is also exhibited in the fine set design and painting by Kathleen Mcln-tyre, and an overall attention to detail. There is such consistency and talent in the Sonoma Vintage Theater's current production of "The Importance of Being Earnest" that it's easy to see the importance of seeing this show soon. Performances continue April 6 and 7, 13 and 14 at 8:30 p.m. at Andrews Hall of the Sonoma Community Center, 276 Napa Sonoma. The motion picture academy should give an award to the nominated actor or actress who gives the best performance in the audience on Oscar night waiting to hear if he or she wins.

Every year the cameras zero in on the nominees just before the presenters say, "And the winner is." Thereafter on nearly half a million TV screens around the. world viewers see some of the best acting extant. The nominees, dying of terminal butterflies, try to remain composed. Some feign nonchalance. Others lick their lips nervously.

A few register smiling anticipation. Many white knuckle it. In their hearts, all want desperately to win but fight down a display of the competitive urge. The man who captures these intimate, personally revealing moments is Marty Pasetta who will be directing his 13th consecutive Academy Awards show April 9. No matter the razzle-dazzle musical numbers, nor how dramatic the acceptance speeches, nothing beats the glimpse of a famous movie star's reaction to a moment of personal crisis.

"Cutting to facial close-ups is the high point of human interest," Pasetta said. "Early in the program viewers want to see the glamour and what the stars are wearing. After that they want human emotion. Watching the nominees in their seats is as important as what is happening on stage. "A cringe, smile or twitch of an eye, perhaps a comment, helps explain what the evening is all about.

We are on constant lookout for those moments." In his director's booth, Pasetta faces a bank of 45 TV monitors with from five to seven cameras trained on the nominees at any one time. Pasetta arranges the seating in advance to get clear shots of actor, actress, supporting actor, supporting actress and director nominees. He uses long lenses, from 50-80 feet away from the stars, to be unobtrusive. "I try to hide the cameras so the stars won't be aware of them," he said. "We try to catch them off-guard, but we respect their feelings.

Also, our cameras seek out family members, co-stars or producers who might provide big reactions. "When Sir Laurence Olivier was giving his acceptance speech a couple of years ago we picked up Jon Voight who was so emotionally involved tears were running down his face. "I waited until the last word of Olivier's speech, then cut to Voight to catch that moment." Pasetta is ever alert to the unexpected. He and his assistants have rarely been caught off guard. "We were surprised in 1975 when Louise Fletcher won best actress," he said.

"I went in for a tight close-up and by doing so I got burned because she was using sign language, talking to her parents. We caught it later, but we missed the first few seconds." Pasetta was better prepared for the 1973 streaker who ran naked across the stage in the middle of the awards. Because streaking was at its height, the director discussed the possibility with on-camera host David Niven. The poised Niven said he had a line ready, "That man is showing off his short-comings." It was up to Pasetta to angle the cameras and pick his shots to avoid recording a nude frontal shot of the streaker. "I had to be cautious," he explained.

"A lot of foreign countries would have been outraged otherwise. I had to protect the credibility of the Oscars." Pasetta was as shocked as anyone in 1972 when unemployed actress Sacheen Littlefeather accepted the award for Marlon Brando and launched into a political speech. "John Wayne was in the wings and was so angry he wanted to go out and pull her off-stage," Pasetta said. "Her appearance resulted in a change of academy rules. Now only winners are allowed to make acceptance speeches.

But there are variances. Mrs. Finch was allowed to accept the posthumous Oscar for Peter Finch in 1976. And Jane Fonda accepted a couple of years ago for her father, who was too ill to appear. "It's impossible to prepare for every contingency on a live show like the Academy Awards with a cast and crew of 550.

The unexpected is always happening. And that's exactly what makes it an exciting TV show." (Vernon Scott is United Press International's Hollywood reporter. Jeff Brink, Monica McKey and Lauralee Davis-Bailey in 'The Importance of Being Earnest' flllL Jl'ESNT SU PERM ART yVjtl) Ml to you with any furniture purchase of hi iTTTTIii mm Mij799 m0rej nmw2m3wm Wallcoverings Italian Ceramic Wall Ceramic ($300 Value) fabulous trips choose from! Prepasted vinyls Look lor tags! REG. 6.95-9.99 Floor Tile Decorator patterns! Look lor sale tags! 85." 8V." REG. 1.19-1.69 2J 4 DAYS3 NIGHTS Roman Onyx solids 4V" 4V," REG.

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