Pulling Out All the Stops Arena Stageís Version of Comedy Classic ëEarnestí a Winner by Lisa Troshinsky One must take the time to see "The Importance of Being Earnest" at least once in oneís lifetime. For that matter, any rich comedic classic should be seen over and over again. The production at Arena Stage gives us even more reason to do so. Letís start with Zack Brownís luxurious, over-the-top, eye-gaping set and costumesóitís a colorfest. The ladies don bright orange and yellow hats with feathers; deep purple, baby blue and fuchsia period dresses with high necks, tight waists and huge bustles; and mammoth rings on top of delicate gloves, while holding tiny parasols and matching mini wrist purses. The male counterparts wear dapper, cream and burgundy coat tails, shined Oxford shoes, and pale yellow dinner jackets. All of the costumes match the ridiculous embroidery and festiveness of the charactersí lives and silly, yet convoluted ambitions. If this werenít enough, Brown has three acts to furnish, which he does by pulling out all the stops. Act I has the characters frolicking around in an upper-crusty, traditional Victorian living room littered with flower-filled porcelain v ases, pricy oriental rugs, chandeliers, cozy settees, and towering copper, sunflower-like sculptures at the four entrances. The second act, which takes place in Earnestís country home, is reminiscent of Dorothy stepping into Munchkinland or Alice in Wonderland. Cecily, played by Tymberlee Chanel, who incidentally is naivetÈ personified, starts the act by rising out of the floor with a watering can, sprinkling drops on rose blooms that grow instantly, with sound effects, as in a cartoon. Obviously, by Act II, we know not to take anything too seriously in this famous Oscar Wilde farce. The costumes, sets, and Wildeís rich, double-entendre-riddled text takes us on a carefree journey, where we only worry about listening for the next laugh. Everett Quinton, who is not new to Arena Stage but spent most of his career as a member of Charles Ludlamís Ridiculous Theatrical Co. in New York City, hits the nail on the head with his casting. Every time Claudia Robinsonówho plays Lady Bracknell resembling a gussied-up wicked old witchómakes an appearance, the audience prepares to split a gut. Perhaps the most sarcastic of the bumbling bunch, her lines are priceless, and she embodies the ridiculous, snobby, busy-bodying society lady. She implores John Worthing (disguised as fictitious Earnest) to "find relations by the end of the season" after she finds out he was "born and bred" in a handbag but still insists on marrying her daughter. When Worthing reveals that he has lost both of his parents, she exclaims, "Losing one parent can be considered unfortunate, but losing two might be looked on as careless!" Gwendolen, played by the willowy, fair Susan Lynskey, who was last seen at Arena as a completely different character in "Proof," spends much of her time twitching her bustle at her admiring "Eaarrrrnest." When Worthing realizes she only likes him for his made-up name and tries out the name Jack on her, she lets out a blood-curdling yelp. Chanel, as the adorable, yet empty-headed Cecily, is nothing but wide-eyed, bushy-tailed and husky-voiced as she records every fantasy in her little green diary, which she always carries with her on trains so sheíll have "something sensational to read." Before she even meets Algernon (disguised now as Worthingís brother, Earnest), she has done all the courting for them. In her diary, he has already proposed to her and bought her expensive jewelry, while sheís broken the engagement and then made up with him. Ian Kahn as Algernon is delightful as he prances around with his curled crop of hair, scheming, snatching muffins he shouldnít be eating, taunting Worthing, and jumping up and down gleefully and clapping his hands when heís been unusually annoying. And Michael Skinner, as Worthing (or Earnest), in his quest to wed Gwendolyn and win Lady Bracknellís approval, is willing to find his parents, admit his true identity, change his name and risk his friendship with Algernon. Open-faced, spunky Skinner is perfect for the role. Hugh Nees, the droll Lane (Worthingís city butler), keeps losing his toupee; and as Merriman, the country butler, he enters each scene trying to get peoplesí attention with a guttural hack. Somewhat weaker are the minor roles of Marybeth Wise, who plays the Rev. Canon Chasuble, and Helen Hedman as Miss Prism. The writing here isnít as punchy and their deliveries are understated. All in all, with "Earnest," Arena makes up for any lackluster performance itís ever produced. Maybe it should put on classic comedies more often, ensuring a winner every time. "The Importance of Being Earnest" runs through Dec. 26 at Arena Stageís Fichandler Stage, 1101 6th St., SW. Tickets are $40 to $59. For more information, please call (202) 488-3300 or visit www.arena-stage.org. Lisa Troshinsky is a theater reviewer for The Washington Diplomat.