Just before Oscar Wilde’s death, he remarked that although he was pleased with the “bright and happy” tone of his most popular play, “The Importance of Being Earnest,” he wished it might have had a “higher seriousness of intent.” Wilde’s dissatisfaction would hardly be quelled, however, if he were to see the current production of “Earnest,” playing through March 8 at the Penobscot Theatre.

That’s not to say the Penobscot show is without merit. Indeed, it is happy, bright and generally entertaining, with a particularly successful opening scene performed deftly and handsomely by lead actors Christopher J. Guilmet (as Jack) and Harold Hynick (as Algernon). There are also many humorous moments, thanks again to Guilmet, as well as Cushing Samp as the formidable Lady Bracknell.

Additionally, the set, designed by guest artist Jerald Enos, is pleasant and functional as it easily transforms from city flat, to garden, to manor house. Enos is right on the mark by keeping the set subtle and by avoiding too many modern elements. A few shattered art pieces, which are obviously more post-modern than Edwardian, hang on the walls and nicely complement Wilde’s cynical view of how morally fractured turn-of-the-century English aristocrats were.

The satiric slap of this play, however, does not rely on the set or the hard work of a few talented actors. “Earnest” stings best if it is delivered with the utmost seriousness. After all, it follows the trivial preoccupations of the privileged class, which values cucumber sandwiches over family relations, determines the trueness of love based on the name Ernest, and covers up peccadilloes by Bunburying (the Wildean nickname for leading a double life). The Penobscot Theatre production is a disappointment because it misses the hilarious gravity and nuance that set up most of the play’s comedy. We end up laughing at the buffoonish antics of the performers rather than Wilde’s absurd characters. Under the direction of Joe Turner Cantu and assistant director Linda Lansing-Smith (a newcomer to the Bangor theater community), the play becomes a burlesque, with supposedly well-bred, sharp-minded, educated characters pursing their lips, rolling their eyes, contorting their faces, and pointing their chins in the air to communicate rather sophisticated — albeit comedic — sentiments. Hardly the actions of Wilde’s haughty milieu.

As presented, the clever Cecily (Patricia Cummings) is reduced to a naive country girl, and the dilettante Gwendolen (Margaret Miller) — wearing a ridiculous bonnet, gasping before each line delivery, and posing as if about to belt an aria — is overstated.

It’s all very bright and happy, but finally tiresome.

Although “Earnest” met with great fits of audience laughter on opening night, and will most likely continue to tickle Bangor audiences throughout its run, it can’t be said to meet Wilde’s goal of treating “all the trivial things of life seriously, and all the serious things of life with sincere and studied triviality.”

“The Importance of Being Earnest,” by Oscar Wilde will be performed 10 a.m. Feb. 12; 2 p.m. Feb. 23, and March 8; and 8 p.m. Feb. 13 (signed), 15, 21, 27, 29, and March 6 and 7 at the Penobscot Theatre. For tickets, call 942-3333.