Review: The Constant Wife (Richmond Theatre / UK Tour)

Review by Rosie Holmes

⭐️⭐⭐⭐

A century after W. Somerset Maugham first penned The Constant Wife, a sparkling revival arrives at Richmond Theatre, feeling not just like a period curiosity, but a sharply observed commentary on modern relationships, gender politics, and the performance of marriage itself. Fresh from a sold-out run at the RSC and now touring the UK, this reimagining proves there is plenty of life left in this 100-year-old play. 

At first glance, you could be forgiven for thinking you’re settling in for a very traditional drawing-room drama. The stage is set just after the First World War, the costumes are sumptuous, and social graces seem very much the order of the day. However, beneath the polite smiles and art-deco sheen simmers something altogether more subversive. The plot centres on Constance Middleton, a well-to-do woman who discovers her husband has been having a long-running affair with her best friend. Rather than collapse into melodrama, Constance chooses something far more radical, she quietly withholds her knowledge and uses the situation as leverage to build her own financial and personal independence. Suddenly, Maugham’s comedy feels less like a dusty period piece and more like a razor-sharp riff on autonomy, hypocrisy and gender politics.

This production is bursting with vivacious female characters, and it is thrilling to see a play of this vintage place women so firmly at its centre. Leading the charge is Kara Tointon as Constance, proving a commanding presence throughout. Tointon delivers a beautifully nuanced performance, allowing moments of vulnerability to seep through Constance’s composed exterior, while never losing sight of her sharp intelligence and growing resolve. Her Constance is observant, witty, and quietly revolutionary, and Tointon ensures that her transformation feels earned rather than overstated.

Providing a constant, and often hilarious, commentary on gender equality is Amy Vicary-Smith as Constance’s sister, Martha Culver. Vicary-Smith is an absolute joy, delivering her lines with tenacity and bite, and never missing an opportunity to skewer the hypocrisy of the men around her, though she herself is not without flaws. Special mention must go to her rapid-fire reprise of the plot in the opening of the second act with a word-heavy, rapid summary that earnt a well-deserved round of applause. It is a moment that perfectly sets the tone for the production, fast-paced, clever, and unafraid to lean into its own theatricality.

In contrast to Martha’s progressive views stands Sara Crowe as Constance’s mother, a woman far more comfortable with traditional gender roles. Crowe wrings plenty of laughs from her character’s old-fashioned outlook, but crucially avoids turning her into a simple punchline. Instead, she reveals a softer, more cunning side beneath the surface, playing her with warmth and endearment that adds welcome depth to the family dynamic.

Gloria Onitiri brings great physicality to the role of Marie-Louise Durham, Constance’s best friend – and John’s mistress. While the character occasionally edges towards caricature, Onitiri’s excellent comic instincts ensure she remains watchable throughout. Whether languishing dramatically on a chaise longue or throwing herself onto the floor in moments of exaggerated despair, she demonstrates a wonderful knack for physical comedy that keeps the audience laughing.

The male characters are, by design, less vivacious than their female counterparts, but they are nonetheless played with precision by the cast. Tim Delap as John Middleton strikes just the right balance of charm and smugness, embodying a man who has long assumed the world will bend to his desires. His performance neatly underscores the entitlement that the play so deftly critiques.

This revival moves at a brisk pace, thanks in large part to Laura Wade, whose script adaptation is both respectful and refreshingly modern. Wade has re-ordered certain scenes, tightening the storytelling and injecting a pacy, contemporary rhythm into the dialogue. The second act in particular glides with real slickness, finding the perfect balance between farce and thoughtful commentary. On the surface, the play is a satire of upper-class privilege; beneath it, Wade draws out the painful, often uncomfortable question of how much has actually changed in the century since the play premiered. The audience laughs, but often with a wince. What lingers after the curtain falls is not just the humour, but the uncomfortable realisation of how many of these issues remain unresolved today. The play invites us to ask not only how far we have come in the pursuit of gender parity, but how far we still have to go.

Visually, the production is a triumph. Anna Fleischle’s set design is breathtaking from the moment you enter the auditorium, transforming the stage into an elegant post-war home complete with drinks trolleys and Art Deco flourishes. The set allows for seamless transitions between past and present, while concealing hidden spaces and surprises that serve as a clear metaphor for the secrets held within the Middleton household. Complementing this is Fleischle’s sumptuous costume design, truly the sort of costumes that make you want to reach through the stage and try everything on. The 1920s wardrobe is a feast for the eyes, with each outfit perfectly encapsulating the character wearing it and the image they wish to project in their world of status and symbols.

Wonderfully entertaining, sharply funny, and quietly thought-provoking, The Constant Wife proves itself to be anything but dated. With an acerbic, fast-paced script and a fabulous cast delivering it with relish, this revival is both a celebration of Maugham’s original wit and a timely reminder of theatre’s power to hold a mirror up to society.

The Constant Wife plays at Richmond Theatre until 14^th February.

Tickets available here

It continues to tour until 5th June. Dates and tickets here

Photos by Mihaela Bodlovic