The Constant Wife – Theatre Royal Brighton

Written by: Laura Wade

Directed by: Tamara Harvey

Somerset Maugham’s 1926 comedy of manners is updated by Laura Wade in a sumptuous production that combines the elegance and tight-lipped values of the 1920s with a thoroughly modern commentary on marriage and fidelity. The pastel-hued art deco-inspired set and impeccably glossy costumes evoke an era exactly a century ago, but both the intransigence of tradition and the guile of the individual shine through as universal themes in this pacey, entertaining ensemble piece. 

Constance, played with vigour and witty charisma by TV star Kara Tointon, is the knowing central character. It soon transpires that her husband John (a sneaky, caddish Tim Delap) has been unfaithful with her best friend Marie-Louise (Gloria Onitiri) but it appears she doesn’t know about it yet. Constance’s mother, Mrs. Culver (Sara Crowe) and sister Martha (Amy Vicary-Smith) are discussing whether or not to let her know. The very fact that they’re considering sweeping it under the carpet situates the play in a historical context more comfortable with infidelity and the idea of giving latitude to husbands who are considered more naturally disposed towards polygamy. Luckily, it turns out Constance isn’t in the dark at all and has more control over the situation than it at first seems.

Quickly, it becomes a play about the balancing of priorities within the strictures of married life. Constance’s knowledge of the infidelity leads her to weigh up what she would be losing if she ended the relationship and she finds a way to resolve the resentment and deception with a satisfying twist of feminine empowerment. This involves the soppy Bernard Kersal who has just returned from Japan and has remained infatuated with her since he proposed to her numerous times in their youth. He is portrayed with a characterful warmth tinged with unrequited desire by Alex Mugnaione and soon becomes a pawn in Constance’s game.

Each character is given time to shine. The butler Bentley, for instance, is given a back story without any sense of laboured exposition, and is played with dignified discretion by Philip Rham as a winking, all-knowing co-conspirator for Constance. At points, he plays piano, segueing into the authentic-feeling jazz soundtrack provided by Jamie Cullum. There are cheeky winks to the mechanisms of the play throughout with a running joke that Constance and Bernard are supposed to be going to see the play The Constant Wife but never quite make it.

The script whips along at a quick pace with the sharp wit of a Noel Coward or Oscar Wilde piece. It’s fun and entertaining but also thought-provoking, with enough restraint to stop it collapsing into farce. The invariably dry humour comes from the push and pull between Mrs. Culver’s outdated domestic opinions, Martha’s shrill admonitions, the desperate machinations of John and Marie-Louise and the smart, wisecracking poise of Constance. Tointon manages to evoke a wholly likeable protagonist and slips effortlessly into the manners of the 1920s. Her handling of her character’s situation hits an exhilarating note that will resonate with a modern audience, hinting at hot topic themes of not quite ethical non-monogamy and the comeuppance of the toxic male.

Runs until 28 February 2026