Writer: Laura Wade, based on the play by W. Somerset Maugham
Director: Tamara Harvey
This is a stylish and stylised production. At times an almost farcical comedy about a tragic situation – a woman’s betrayal by her husband and her best friend. And set in the 1920s, when a woman’s options in response were limited – put up and shut up, or take revenge. Yet when faced with the dilemma, Constance (Rose Leslie) makes an unexpected and yet logical choice…
W. Somerset Maugham’s The Constant Wife was first staged in 1926, and Laura Wade has given it a modern edge for its centenary. She has used Somerset Maugham’s lines, just not necessarily in the same order. The play depicts the burgeoning feminist views of the era and women’s increasing struggle for independence, whilst acknowledging that men still retained the upper hand in most aspects of society. This is most graphically played out by the views of Constance’s mother, convincingly played by Kate Burton, who believes that men are never to blame for their bad behaviour – they are helpless and hapless when faced with a pretty woman – and Constance’s single entrepreneurial sister (Amy Morgan), who is unconvinced by their charms and is determined to go it alone.
The action takes place in the drawing room of Constance’s apartment above her husband’s consulting rooms in Harley Street. The large stage is sparingly set with minimal furniture and props. That minimalism and style is mirrored by music by Jamie Cullum, which introduces the play and provides a backdrop to the deliberate, choreographed scene changes. And also in the sumptuous costumes – particularly of the women – which are gloriously coloured and often in flowing silks.
A special mention to Rose Leslie, who is completely believable as Constance, and to Mark Meadows as the butler, Bentley, who manages to convey a world of emotion in a single raise of the eyebrow.
“Forgiveness tastes a great deal sweeter than revenge”.
Runs until 2 August 2025
