Review: An Ideal Husband (Lyric Hammersmith)

Review by Ruth Sealey

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Mentions of political scandal and corruption sadly seem all too common today, and, in many ways, An Ideal Husband at the Lyric Hammersmith feels strikingly current. Oscar Wilde himself described the play as a ‘play of modern life’ - an almost self-fulfilling prophecy for society then and now, highlighting just how little has really changed. With its contemporary twist and modern setting, would this production prove to be the ideal blend of old and new?

Written by Oscar Wilde and first performed at the Haymarket Theatre in 1895, An Ideal Husband has appeared in various forms over the years, including a film adaptation in 2000. While its themes clearly examine political corruption, the play also explores relationships and the consequences of building them on lies. A comedy at its heart, it challenges ideas of commitment and trust- surely the key foundations of any relationship? Wilde’s writing manages to incorporate a range of themes without allowing any one to overwhelm the others, instead weaving them together in a sharp commentary on life, love, career and reputation, and what someone might do to protect them at all costs.

This revival aims to bring the play into a more contemporary setting while still remaining true to Wilde’s original story and themes. Sir Robert Chiltern and his wife, Lady Gertrude Chiltern, host a party for their friends, joined by Lady Chiltern’s sister, Mabel, and the eligible bachelor Viscount Goring. During the evening, Mrs Cheveley arrives, an old school rival of Lady Chiltern, and reveals to Sir Robert that she possesses information she can use to blackmail him. What follows is an exploration of love, relationships, and the consequences of discovering that the person you love most has been lying to you.

With Nicholai La Barrie’s direction, this production brings An Ideal Husband loudly and proudly into the present day. Cleverly, though, it never feels entirely rooted in either time period, with Wilde’s original language remaining largely untouched while subtle nods to modern life are woven throughout. The first act does start slowly, in slightly muted light, with little to immediately grab the audience’s attention, and as I watched, I found myself hoping that the pace would pick up. I am glad to say that it does, as the cast grow into their roles, what emerges is a vibrant production full of energy and confidence. La Barrie is unafraid to challenge what audiences may think they know about Wilde, and his vision for this production shows real moments of inspiration.

The cast is uniformly strong, striking a fine balance between comedy and intensity throughout. Tamara Lawrance as Lady Chiltern carries much of the emotional weight of the production, required to embody forgiveness and reconciliation, and she captures Lady Chiltern’s vulnerability with real sensitivity and depth in her portrayal of love for Lord Chiltern. Aurora Perrineau’s scheming Mrs Cheveley is played with a calm, controlled and subtly intimidating presence, heightening the sense of manipulation beneath her composed exterior. Jeff Alexander as Earl of Caversham, alongside Suzette Llewellyn as Lady Markby, also contribute assured supporting performances that help sustain the production’s comedic rhythm and social satire.

Emmanuel Akwafo as Mason/Phipps cleverly navigates two very similar roles, yet gives each a distinct persona and set of mannerisms, striking a precise balance that lands the comedy effectively, if at times feels slightly overused. Tiwa Lade’s Mabel Chiltern brings genuine comedic charm, presenting the character with a superficial exterior, and her physicality and movement, particularly in her interactions with the rest of the cast, are consistently sharp and highly entertaining to watch.

An Ideal Husband is at its strongest when Jamael Westman as Viscount Goring is on stage; he confidently steals every scene with a charismatic presence and an effortless command of Wilde’s dialogue. Alongside him, Chiké Okonkwo’s Lord Chiltern forms an excellent onstage partnership, their relationship feeling convincing and sincere where it matters most. The production’s most compelling moments come when the two share the stage, their dynamic revealing both tension and vulnerability in equal measure. In particular, Chiltern’s admission of his mistake to Goring stands out as one of the highlights, delivered with an intensity that carries real emotional weight.

The sound design by Holly Khan hits from the outset and immediately establishes that this is not a conventional staging, setting the tone for a production that seeks to bridge the gap between period drama and contemporary performance. The use of R&B music to transition between scenes is particularly effective, creating smooth, atmospheric shifts that support the rhythm of the production. Combined with Zeynep Kepekli’s lighting design, it gives the scene changes real cohesion. Kepekli’s work is executed with precision throughout, with moments such as a single beam of light on a tall glass standing out as particularly striking.

At first, the set appears deceptively simple as the scene opens at the Chilterns’ party, but Rajha Shakiry’s set and costume design soon come into their own, while a circular hanging curtain is used cleverly to create dynamic and fluid entrance and exit points. As the play progresses, the design gradually builds in detail, offering real depth as the audience can see through doors and into the layered space beyond. By the opening of the second act, Goring’s study is revealed in striking intricacy. The costumes blend classical and contemporary elements, fitting well with the production’s overall approach and reinforcing its modernised interpretation of the play.

This revival of An Ideal Husband is well-thought-out, neither fully committing to old nor new, but instead existing in a space between the two that keeps the audience engaged throughout. With its multiple themes, it continually prompts reflection and asks questions of its audience rather than offering easy answers. It is bold and vibrant, with a soundtrack that keeps the performance grounded in the present and a cast and director who seem fully aware of where and when they want this production to exist. As we watch Lord and Lady Chiltern attempt to reconcile their differences, the lingering idea remains that even when the truth is hidden, the lie still persists. Ultimately, it invites us to consider whether clear comparisons can be drawn between Wilde’s world and modern politics and relationships today. Wilde wrote that this play was set in ‘the present’ and, while remaining true to his social commentary, that is exactly what has been achieved here.

An Ideal Husband plays at the Lyric Hammersmith until 6^th June. Tickets from https://allthatdazzles.londontheatredirect.com/play/an-ideal-husband-tickets 

Photos by Helen Murray