The Importance of Being Earnest Study Guide

THE IMPORTANCE OF BEING EARNEST

By Oscar Wilde
Directed by Krista Jackson

GRADE RECOMMENDATION

Grade 7+

CONTENT ADVISORY

Please see the show page for a detailed advisory.

SYNOPSIS

Jack Worthing escapes the pressures of polite society by leading a double life: he is the respectable Jack in the country and the rakish Ernest in London. Meanwhile, his friend Algernon Moncrieff adopts the same alias to court Cecily Cardew, Jack's spirited ward, who – like Jack's beloved Gwendolen Fairfax – is convinced she could only love a man named Ernest. Complications erupt when both women believe themselves engaged to the elusive "Ernest." As identities collide and deceptions unravel, Gwendolen's formidable mother, Lady Bracknell, inserts herself with uncompromising authority. Just as accusations mount and engagements crumble, a long-buried secret from Jack's past resurfaces – one that may unravel every lie he's told or finally make him worthy of the name Ernest.

CURRICULUM CONNECTIONS

Global Competencies or Transferable Skills: Critical Thinking and Problem Solving; Innovation, Creativity and Entrepreneurship; Self-Directed Learning; Collaboration; Communication; Global Citizenship and Sustainability; Digital Literacy

Grades 7-8

The Arts
Health and Physical Education
History
Language
Science and Technology

Grades 9-12

The Arts
Canadian and World Studies
English
Health and Physical Education
Social Sciences and Humanities
Technological Education

Post-Secondary

Suitable for courses in disciplines such as Arts, Comedy, Cultural Studies, Creative Writing, Drama, English, Fine Arts, Gender Studies, History, Human Rights, Social Development Studies, Teacher Education and Theatre

THEMES

Appearance and Honesty/Reality
Class and Wealth
Confidence and Self-Discovery
Exaggeration and Farce
Generational and Gendered Roles and Expectations
Honesty
Identity and Deception
Language and Wit
Love and Marriage
Morality and Hypocrisy
Reputation
Social Conventions
Victorian England

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

Have you ever heard of Oscar Wilde? What do you already know about him and his work? Research one of his quotes and explain what you think it tells us about the way in which he views the world.
In this play, the characters act differently depending on who they are with. Have you experienced this in your own life? Why do you think people might change the way they act depending on the context? How do you imagine this might play out in the show?
Characters in this play are not always who they seem. Do you typically trust your first impressions to be true? Why or why not? Have you ever had a first impression of someone that, with time, you discovered to be different from what you initially felt?
What might prompt someone to live a double life or to hide parts of who they are? Is pretending to be someone else a way of hiding your true self or finding it? Explain your thinking using examples from dramatic and literary works.
What social codes or clues do people use to communicate shared values or experiences with other members of their group? Why might people choose to employ implicit ways of communicating with one another rather than explicit ones? Why might this be particularly important for certain groups of people such as queer folks in the Victorian era (when this play is set)?
What does reputation mean to you? Is it something you value? Why or why not?
"What's in a name? That which we call a rose, by any other word would smell as sweet." This is a famous line that Juliet speaks in Shakespeare's Romeo and Juliet. In your own words, what is she saying? Do you agree? Why or why not?
In this play, Gwendolen and Cecily both carry diaries. Have you ever kept a diary or a journal before? What prompted you to do so? Was it to capture a certain time or event or to express desires for the future? How do you feel when writing in your diary? Would you ever let someone read your entries? Why or why not? How do you imagine the diaries of Gwendolen and Cecily might be used in the play?
When thinking of the word "earnest," what comes to mind? Look up the definition. If you had to capture the word as an image, what would it be and why? What might the title of the play tell us about what to expect?
Have you ever experienced something in real life that you first imagined or dreamed about? How did you feel when your dream became reality?
How might the clothes we choose to wear tell a story about who we are or want to be? In what ways can fashion be powerful? Consider how the costume design in the play might offer signals into the characters' desires and status.
How does colour tell a story on stage? What colours do you associate with pleasure and fun? What is your favourite colour and how do you incorporate it into your fashion choices?
What do flowers symbolize? Why do different flowers represent different things? What do flowers mean to you?
This play has a lot of surprises. How do you feel when you are surprised or when something unexpected happens? Why do you think people respond differently to this?

POST-SHOW QUESTIONS

Revisit your research about Oscar Wilde. After watching the play, consider if your understanding of how he views the world remains the same or whether it has changed.
Do you or does anyone you know go by a name different than their given name or who is called different names by different people in their lives? How do the names we are called impact who we are or might become?
Jack lives a double life when he goes to the city, and Algernon invents someone called "Bunbury" as an alibi to escape social obligations. What did Jack's story reveal to you about what it's like to have a secret identity? In which social contexts do you think Jack and Algernon were their "true" selves? Do you think their lies were justifiable? Why or why not? Explain your thinking using specific examples.
There are particular rules and ideas about marriage in the context of this play. How do Gwendolen, Cecily and Lady Bracknell each view marriage? What do Gwendolen and Cecily desire from marriage? In the end, do they get what they want?
Consider the power dynamics between the characters in the play. Who holds the most power and why? Do any of the characters subvert conventional ideas about gender and class? Explain your thinking with specific examples from the play.
The particular challenges faced by the characters are, in some ways, caused by the social constraints imposed in Victorian England. Imagining that the play is set in your contemporary context, what would change in terms of the characters' obstacles and desires? Be specific in thinking about each character.
Based on the play, what are some of the ways in which "family" is defined by different characters? What does that tell us about what they value in terms of family relationships? How do the characters find and create family in unexpected ways?
Did the ending of the play surprise you? Why or why not? Did it remind you of any other endings in comedic plays? Share commonalities you noticed, citing specific examples.
In what ways did the sound design and composition as well as the set, costume and lighting design tell the audience about the characters and their journey over the course of the play? Choose a specific character or scene as an example from which to share your point of view.
Oscar Wilde uses humour as a vehicle to scrutinize society. Do you think comedy is a useful tool in provoking discussion about social issues? Explain your thinking using examples from the play.
Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?

MINDS ON

Objective: Through writing and performance, students will analyze how characters’ perspectives and motivations are developed through writing, imagination and interpretation.

Materials:

Writing utensils
Paper
Laptops/tablets
Victorian Diary “Checklist”

Directions:

After watching the play, invite students to choose one of the four main characters – Jack, Algernon, Gwendolen, Cecily – from whose perspective they would like to write.
Invite students to read through the Victorian Diary “Checklist” before preparing to write.
Ask students to write two or three diary entries in role as their chosen character. The diary entry should take place at some point after the ending of the play. Students will need to imagine how life has unfolded for their chosen character.
Give students time to write their diary entries. If they wish, invite students to share drafts with one another and give them time to continue to develop and finalize their entries.

DEBRIEFING QUESTIONS:

Did you enjoy writing the diary entry? Why or why not?
How did it feel to write “in role”? What information from the play helped you to write in your chosen character’s voice?
Do you think that diary entries are a beneficial way to process the world around you? Why or why not?
Did you bring anything personal to you into the diary entry? When an actor is playing a character, what might they bring from their personal lives to help realize the role? Why might they choose to keep their personal lives and the roles they are playing separate?

POSSIBLE EXTENSIONS:

Activating Our Diaries

Let students know they will now continue to workshop their entries in order to bring them to life as monologues on stage.
Ask students to consider what changes need to be made to translate something literary to be performance ready.
After students have time to rewrite and rehearse, invite them to perform their monologues for the class.

Social Diaries

Ask students to consider possible modern-day equivalents to diary entries.
Invite them to discuss how social media platforms might be considered a form of diary writing.
Have students translate their diaries into a social media context for their chosen character in 2026.

About the Play

THE IMPORTANCE OF BEING EARNEST

By Oscar Wilde
Directed by Krista Jackson

Download House Program

GRADE RECOMMENDATION

Grade 7+

CONTENT ADVISORY

Please see the show page for a detailed advisory.

SYNOPSIS

Jack Worthing escapes the pressures of polite society by leading a double life: he is the respectable Jack in the country and the rakish Ernest in London. Meanwhile, his friend Algernon Moncrieff adopts the same alias to court Cecily Cardew, Jack's spirited ward, who – like Jack's beloved Gwendolen Fairfax – is convinced she could only love a man named Ernest. Complications erupt when both women believe themselves engaged to the elusive "Ernest." As identities collide and deceptions unravel, Gwendolen's formidable mother, Lady Bracknell, inserts herself with uncompromising authority. Just as accusations mount and engagements crumble, a long-buried secret from Jack's past resurfaces – one that may unravel every lie he's told or finally make him worthy of the name Ernest.

CURRICULUM CONNECTIONS

Global Competencies or Transferable Skills: Critical Thinking and Problem Solving; Innovation, Creativity and Entrepreneurship; Self-Directed Learning; Collaboration; Communication; Global Citizenship and Sustainability; Digital Literacy

Grades 7-8

The Arts
Health and Physical Education
History
Language
Science and Technology

Grades 9-12

The Arts
Canadian and World Studies
English
Health and Physical Education
Social Sciences and Humanities
Technological Education

Post-Secondary

Suitable for courses in disciplines such as Arts, Comedy, Cultural Studies, Creative Writing, Drama, English, Fine Arts, Gender Studies, History, Human Rights, Social Development Studies, Teacher Education and Theatre

THEMES

Appearance and Honesty/Reality
Class and Wealth
Confidence and Self-Discovery
Exaggeration and Farce
Generational and Gendered Roles and Expectations
Honesty
Identity and Deception
Language and Wit
Love and Marriage
Morality and Hypocrisy
Reputation
Social Conventions
Victorian England

Discussion Questions

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

Have you ever heard of Oscar Wilde? What do you already know about him and his work? Research one of his quotes and explain what you think it tells us about the way in which he views the world.
In this play, the characters act differently depending on who they are with. Have you experienced this in your own life? Why do you think people might change the way they act depending on the context? How do you imagine this might play out in the show?
Characters in this play are not always who they seem. Do you typically trust your first impressions to be true? Why or why not? Have you ever had a first impression of someone that, with time, you discovered to be different from what you initially felt?
What might prompt someone to live a double life or to hide parts of who they are? Is pretending to be someone else a way of hiding your true self or finding it? Explain your thinking using examples from dramatic and literary works.
What social codes or clues do people use to communicate shared values or experiences with other members of their group? Why might people choose to employ implicit ways of communicating with one another rather than explicit ones? Why might this be particularly important for certain groups of people such as queer folks in the Victorian era (when this play is set)?
What does reputation mean to you? Is it something you value? Why or why not?
"What's in a name? That which we call a rose, by any other word would smell as sweet." This is a famous line that Juliet speaks in Shakespeare's Romeo and Juliet. In your own words, what is she saying? Do you agree? Why or why not?
In this play, Gwendolen and Cecily both carry diaries. Have you ever kept a diary or a journal before? What prompted you to do so? Was it to capture a certain time or event or to express desires for the future? How do you feel when writing in your diary? Would you ever let someone read your entries? Why or why not? How do you imagine the diaries of Gwendolen and Cecily might be used in the play?
When thinking of the word "earnest," what comes to mind? Look up the definition. If you had to capture the word as an image, what would it be and why? What might the title of the play tell us about what to expect?
Have you ever experienced something in real life that you first imagined or dreamed about? How did you feel when your dream became reality?
How might the clothes we choose to wear tell a story about who we are or want to be? In what ways can fashion be powerful? Consider how the costume design in the play might offer signals into the characters' desires and status.
How does colour tell a story on stage? What colours do you associate with pleasure and fun? What is your favourite colour and how do you incorporate it into your fashion choices?
What do flowers symbolize? Why do different flowers represent different things? What do flowers mean to you?
This play has a lot of surprises. How do you feel when you are surprised or when something unexpected happens? Why do you think people respond differently to this?

POST-SHOW QUESTIONS

Revisit your research about Oscar Wilde. After watching the play, consider if your understanding of how he views the world remains the same or whether it has changed.
Do you or does anyone you know go by a name different than their given name or who is called different names by different people in their lives? How do the names we are called impact who we are or might become?
Jack lives a double life when he goes to the city, and Algernon invents someone called "Bunbury" as an alibi to escape social obligations. What did Jack's story reveal to you about what it's like to have a secret identity? In which social contexts do you think Jack and Algernon were their "true" selves? Do you think their lies were justifiable? Why or why not? Explain your thinking using specific examples.
There are particular rules and ideas about marriage in the context of this play. How do Gwendolen, Cecily and Lady Bracknell each view marriage? What do Gwendolen and Cecily desire from marriage? In the end, do they get what they want?
Consider the power dynamics between the characters in the play. Who holds the most power and why? Do any of the characters subvert conventional ideas about gender and class? Explain your thinking with specific examples from the play.
The particular challenges faced by the characters are, in some ways, caused by the social constraints imposed in Victorian England. Imagining that the play is set in your contemporary context, what would change in terms of the characters' obstacles and desires? Be specific in thinking about each character.
Based on the play, what are some of the ways in which "family" is defined by different characters? What does that tell us about what they value in terms of family relationships? How do the characters find and create family in unexpected ways?
Did the ending of the play surprise you? Why or why not? Did it remind you of any other endings in comedic plays? Share commonalities you noticed, citing specific examples.
In what ways did the sound design and composition as well as the set, costume and lighting design tell the audience about the characters and their journey over the course of the play? Choose a specific character or scene as an example from which to share your point of view.
Oscar Wilde uses humour as a vehicle to scrutinize society. Do you think comedy is a useful tool in provoking discussion about social issues? Explain your thinking using examples from the play.
Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?

Minds On

MINDS ON

Objective: Through writing and performance, students will analyze how characters’ perspectives and motivations are developed through writing, imagination and interpretation.

Materials:

Writing utensils
Paper
Laptops/tablets
Victorian Diary “Checklist”

Directions:

After watching the play, invite students to choose one of the four main characters – Jack, Algernon, Gwendolen, Cecily – from whose perspective they would like to write.
Invite students to read through the Victorian Diary “Checklist” before preparing to write.
Ask students to write two or three diary entries in role as their chosen character. The diary entry should take place at some point after the ending of the play. Students will need to imagine how life has unfolded for their chosen character.
Give students time to write their diary entries. If they wish, invite students to share drafts with one another and give them time to continue to develop and finalize their entries.

DEBRIEFING QUESTIONS:

Did you enjoy writing the diary entry? Why or why not?
How did it feel to write “in role”? What information from the play helped you to write in your chosen character’s voice?
Do you think that diary entries are a beneficial way to process the world around you? Why or why not?
Did you bring anything personal to you into the diary entry? When an actor is playing a character, what might they bring from their personal lives to help realize the role? Why might they choose to keep their personal lives and the roles they are playing separate?

POSSIBLE EXTENSIONS:

Activating Our Diaries

Let students know they will now continue to workshop their entries in order to bring them to life as monologues on stage.
Ask students to consider what changes need to be made to translate something literary to be performance ready.
After students have time to rewrite and rehearse, invite them to perform their monologues for the class.

Social Diaries

Ask students to consider possible modern-day equivalents to diary entries.
Invite them to discuss how social media platforms might be considered a form of diary writing.
Have students translate their diaries into a social media context for their chosen character in 2026.

CONNECTION TO THE ARCHIVES

The role of Lady Bracknell has been played by a male actor in four out of our previous six Stratford Festival productions of The Importance of Being Earnest. The role was most recently played by Brian Bedford, as seen here in our 2009 production. In our 2026 production, Lady Bracknell will be played by a woman, Fiona Reid. What considerations might a director make in casting with regard to gender in this role? What effect might their choice of actor have on the audience's experience not only of Lady Bracknell, but of the production as a whole?

Salesman in China, 2024

Brian Bedford as Lady Bracknell and Sara Topham as Gwendolen Fairfax in The Importance of Being Earnest (Stratford Festival, 2009). By Oscar Wilde. Directed by Brian Bedford. Designed by Desmond Heeley. Lighting design by Kevin Fraser. Sound design by Jim Neil. Photography by David Hou.
Stratford Festival Archives, GPO.2009.005.0584

The Stratford Festival Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

RESOURCES

Study Guide PDF

Stratford Public Library's 2026 Season Reading Lists

STUDY GUIDES

View all 2026 Shorts and Study Guides for selected 2026 plays, along with those from previous seasons, free of charge.

ADDITIONAL RESOURCES

Oscar Wilde and The Importance of Being Earnest

British Library to reinstate Oscar Wilde's reader card 130 years after it was revoked | The Guardian

Edmonds, Antony. Oscar Wilde's Scandalous Summer. 2014.

Historic Figures: Oscar Wilde (1854-1900) | BBC History

Holland, Merlin. Oscar Wilde: A Life in Letters. 2003.

The Importance of Being Earnest: Learning Guide – education resource | National Theatre

The Official Website for Oscar Wilde | CMG Worldwide

Pearson, Hesketh. Oscar Wilde. 1948.

Study Guide and Character Map | Orlando Shakespeare Theater

Sturgis, Matthew. Oscar: A Life. 2018.

Victorian England

Penning the Perfect Letter | The Postal Museum

Victorian era | Britannica

Victorians | English Heritage

Victorian lives | National Archives

BOOKING INFORMATION: TICKETS, WORKSHOPS AND CHATS

STUDENT MATINEES

You may book any available date, but selected student matinee performances for this show are at 2 p.m. on the following dates:

Tuesday, May 19
Wednesday, May 27
Thursday, June 4
Wednesday, June 10
Tuesday, June 23
Friday, September 11
Tuesday, September 15
Friday, October 9
Wednesday, October 14
Thursday, October 22

WORKSHOPS AND CHATS

Visit our website or contact us at educate@stratfordfestival.ca to book:

InterACTive Preshows
Collaborative Learning Workshops
Customized Workshops
Post-Show Chats
Behind-the-Scenes Tours

2026 SEASON SPONSOR

The 2026 Season is generously supported by Ophelia Lazaridis

PROUD SEASON PARTNERS

BMO Canada Life RBC

Production Co-Sponsor: Sylvia D. Chrominska

TOOLS FOR TEACHERS

Tools for Teachers includes InterACTive Preshows, Study Guides and Stratford Shorts sponsored by

Canada-Life_White(1)

Connection to the Archives

CONNECTION TO THE ARCHIVES

The role of Lady Bracknell has been played by a male actor in four out of our previous six Stratford Festival productions of The Importance of Being Earnest. The role was most recently played by Brian Bedford, as seen here in our 2009 production. In our 2026 production, Lady Bracknell will be played by a woman, Fiona Reid. What considerations might a director make in casting with regard to gender in this role? What effect might their choice of actor have on the audience's experience not only of Lady Bracknell, but of the production as a whole?

Salesman in China, 2024

Brian Bedford as Lady Bracknell and Sara Topham as Gwendolen Fairfax in The Importance of Being Earnest (Stratford Festival, 2009). By Oscar Wilde. Directed by Brian Bedford. Designed by Desmond Heeley. Lighting design by Kevin Fraser. Sound design by Jim Neil. Photography by David Hou.
Stratford Festival Archives, GPO.2009.005.0584

The Stratford Festival Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

Resources

RESOURCES

Study Guide PDF

Stratford Public Library's 2026 Season Reading Lists

STUDY GUIDES

View all 2026 Shorts and Study Guides for selected 2026 plays, along with those from previous seasons, free of charge.

ADDITIONAL RESOURCES

Oscar Wilde and The Importance of Being Earnest

British Library to reinstate Oscar Wilde's reader card 130 years after it was revoked | The Guardian

Edmonds, Antony. Oscar Wilde's Scandalous Summer. 2014.

Historic Figures: Oscar Wilde (1854-1900) | BBC History

Holland, Merlin. Oscar Wilde: A Life in Letters. 2003.

The Importance of Being Earnest: Learning Guide – education resource | National Theatre

The Official Website for Oscar Wilde | CMG Worldwide

Pearson, Hesketh. Oscar Wilde. 1948.

Study Guide and Character Map | Orlando Shakespeare Theater

Sturgis, Matthew. Oscar: A Life. 2018.

Victorian England

Penning the Perfect Letter | The Postal Museum

Victorian era | Britannica

Victorians | English Heritage

Victorian lives | National Archives

BOOKING INFORMATION: TICKETS, WORKSHOPS AND CHATS

STUDENT MATINEES

You may book any available date, but selected student matinee performances for this show are at 2 p.m. on the following dates:

Tuesday, May 19
Wednesday, May 27
Thursday, June 4
Wednesday, June 10
Tuesday, June 23
Friday, September 11
Tuesday, September 15
Friday, October 9
Wednesday, October 14
Thursday, October 22

WORKSHOPS AND CHATS

Visit our website or contact us at educate@stratfordfestival.ca to book:

InterACTive Preshows
Collaborative Learning Workshops
Customized Workshops
Post-Show Chats
Behind-the-Scenes Tours

Sponsorship

2026 SEASON SPONSOR

The 2026 Season is generously supported by Ophelia Lazaridis

PROUD SEASON PARTNERS

BMO Canada Life RBC

Production Co-Sponsor: Sylvia D. Chrominska

TOOLS FOR TEACHERS

Tools for Teachers includes InterACTive Preshows, Study Guides and Stratford Shorts sponsored by

Canada-Life_White(1)

TOOLS FOR TEACHERS SPONSORED BY