Take a step back into the 1920s with the Constant Wife which is based on the original play by W. Somerset Maugham and has been creatively adapted and revived by award winning Laura Wade and directed by Tamara Harvey. Despite being written nearly a century ago, Wade has beautifully written the play to maintain its original class, themes and sophistication; however, the play still feels surprisingly modern. An exploration of marriage, independence, and social hypocrisy.
Meet Constance Middleton (Kara Tointon), well kept, organised, controlled, poised and who glides around stage with grace. The perfect wife and mother. However, all is not what it seems. Be prepared for a brilliant and comedic tale filled with surprise, wit, laughter, intrigue and an array of characters with wonderfully contrasting viewpoints all coming together in one delightful spectacle. A sophisticated comedy of manners in which polite conversation disguises deep emotional tensions.
Tointon plays this role with great control and elegance, she is not tragic, nor is she conventionally rebellious; instead, she is observant, witty, and quietly strategic.
Supporting characters—from gossiping friends to morally flexible family members—create a lively ensemble that highlights the absurdities of polite society. Their attempts to manage the scandal often reveal more about their own insecurities than about the affair itself.
Mrs Culver (Sara Crowe) is extremely cut throat, comedic and stoic. Her one liners and comedic timing and delivery are spot on. Motherly instinct may sometimes be lacking but in the most rib-tickling way. Martha Culver (Amy Vicary-Smith) Constance’s supportive sister, a character I adored for her independence and defiance. Her frustration at the outplaying situation is excellent with flippant remarks, expressions and sometimes more bold explanations. A character who was easy to warm too.
The so called best friend, Marie-Louise Durham (Gloria Onitiri), melodramatic, over the top and full of herself, not an easy character to like but a brilliant character portrayed by Onitiri. Making a devilish duo with Marie-Louis was John Middleton (Tim Delap), the frustratingly arrogant husband who Delap played with a boyish silliness about him, again, a good character you liked to dislike. He was smarmy, charming and not as clever as he deemed himself to be.
To finish the ensemble, you had Bernard Kersal (Alex Mugnaioni), the longstanding friend of Constance. Mugnaioni had great expression and was a lovable character that you rooted for throughout and wished Constance to further their relationship. He was flamboyant, polite and an all-round good egg. Mortimer Durham (Jules Brown) makes a small but mighty appearance as
Marie-Louise’s long-suffering husband. Brown demonstrates how smaller roles are vital and can make a lasting impact for the storyline. Finally, Bentley (Philip Rham), the steadfast, trustworthy butler with a soft side who you warm to from the very beginning. A cheeky wink here and there as you see he is on the side of the good. He watches with a quiet disposition as the play unfolds around him.
From the moment you enter the auditorium, the staging and set (Anna Fleischle) transports you straight to the interior of an upper-class home complete with luxurious and rich colours, the geometric aesthetic of Art Deco, velvet chaise longue and bold aqua metallic curtains. The set cleverly switches between time periods with changing walls and features which are able to be easily manipulated without the need of disturbing the layout of house itself.
Costumes (Anna Fleischle, Cat Fuller and Ilona Karas) are in keeping with the times and perfectly depict the class and character of each individual as they enter the stage.
Lighting (Sally Ferguson) and Sound (Claire Windsor) are used subtly and are well balanced to create a natural home environment for the performance to play out. Lighting is used well through the windows to show natural sunlight entering the room. Good attention to detail.
A gloriously funny and witty evening with a play which challenges traditional gender expectations. In a period when female fidelity was demanded but male infidelity often tolerated, Exposing double standards in the classiest most cleverly imaginative way. Rather than pleading for loyalty, she claims independence—financially and emotionally. One of the most intriguing of heroines.
Compelling and relevant. The Constant Wife is an exploration of autonomy, marriage, and social expectation which resonates with contemporary audiences. With its razor-sharp dialogue and a central character who refuses to conform to expectations, the play offers both entertainment and thoughtful critique.
Reviewer: Steph Wiswall
Reviewed: 10th March 2026
North West End UK Rating: