Grace Pervades – written by David Hare and starring Ralph Fiennes and Miranda Raison – tells the story of Victorian theatre giants Henry Irving (Fiennes) and Ellen Terry (Raison), as well as Terry’s two children Edith Craig (Ruby Ashbourne Serkis) and Edward Gordon Craig (Jordan Metcalfe), who each made their own contributions to theatre. Often both moving and funny, this play is a pleasant love letter to these important figures in the history of British theatre.
The entire cast performs to a very high standard. Ralph Fiennes plays Henry Irving with nuance and finesse. The script characterises Irving as overly earnest and sincere, which – ironically – Fiennes is able to play to great humorous effect. Fiennes achieves a skilful balance between the shy and awkward elements of Irving’s personality and his ability to speak with unrestrained passion when discussing his obsession: theatre.
The other standout performers are Jordan Metcalfe as Edward Gordan Craig and Kathryn Wilder as Tony Awtwood. Metcalfe is hilarious as this egotistical and petulant “genius”, while still bringing enough vulnerability to avoid presenting the character as a complete cartoon. Kathryn Wilder brings easy-going laissez-faire charm and effortlessly sardonic wit to the wholesome lesbian triad of which her character is a member.
If its sole aim is to be a love-letter to the rich history of British theatre, Grace Pervades absolutely succeeds. The script and performances express near-total adoration for Henry Irving and Ellen Terry, and the brief glimpses of play-within-a-play rehearsals and performances will appeal to fans of Shakespeare and the like. A steady supply of theatre industry inside jokes landed especially well at press night.
The script is generally good. The early scenes of the burgeoning romance between Henry and Ellen are especially touching, as the duo gradually learn from and about one another despite their supposed incompatibility. The script enthusiastically explores some interesting questions about the role of theatre in society, and the pros and cons of favouring classic plays over contemporary writing. There are plenty of witty jokes to counterpoint the dryer moments.
However, the script suffers from an over-reliance on heavy-handed exposition; characters frequently explain the backstories and motivations in a way that detracts from the momentum of the scene and which denies the audience the chance to make their own inferences and interpretations. Furthermore, momentum is halted by the fact that the plot is being pulled in three directions: by Henry & Ellen, by Edith, and by Edward. While each individual scene is engaging, they whole is not greater than the sum of its parts.
Some odd choices here and there further hamper the production. For example, every scene features a projected backdrop, except for one which features a set change so intricate that the curtains are brought down to cover the transition. Why this one scene merits special treatment is unclear. Small issues such as this cumulatively impede the overall effect of the play.
Grace Pervades is definitely a play for people who already love theatre. Despite some issues here and there, it does a great job of conveying the significance of the figures it depicts and their contribution to the artform.
Grace Pervades runs until July 11th at the Theatre Royal Haymarket, with tickets available at https://trh.co.uk
Reviewer: Charles Edward Pipe
Reviewed: 30th April 2026
North West End UK Rating: