A pivotal and highly relatable piece of comic theatre
The festival theatre in Edinburgh this week presents “The Constant Wife” by stage and screen writer Laura Wade, famously well known for her TV-writing- “Rivals”- and her award-winning writing for stage performance “Home, I’m Darling”. This play has been adapted as a piece of comedic writing for the stage based on its original themes from the book written by William Somerset Maugham.
We meet Constance at the height of success, married to the perfect partner, a successful surgeon, John Middleton, in their beautifully decorated London flat, in 1927. The action dives right into the outside looking into what appears to be a perfect life. However, we learn early on that John’s infidelity has been ongoing for some time and right under Constance’s nose.
Her sister and mother share strong opinions about how this should be handled as they are aware, but believe that Constance is not. As “The Constant Wife”, Constance cleverly highlights the struggles in all women as they desire to be seen as more than a wife and a mother.
Packed with wit, hilarity and pivotal moments, the play reflects on difficulties and change, themes within the original story and their relevance today in particular the “empty nest” syndrome as children leave home and its impact on a marriage as time passes and infatuation fades.
There are stellar performances all round by this talented cast. Kara Tointon takes on the leading lady as Constance Middleton, embodying the play’s title as the constant wife. She does a great job of driving the cast through, however at times can present a little wooden in her movement and comfortability on stage. Certainly, she finds her pacing and strength as the character develops her independence more into the second act, complimented well by Amy Vicary–Smith’s brilliant performance as Constance’s unmarried sister. She is highly successful with her own business and continues to embrace every aspect of the key theme of independence and how it frees her creativity as an interior designer.
Tim Delap (John Middleton) delivers the persona of a steady husband. He commands the stage with grace and aplomb holding himself to the patriarchal standards expected of him at this time. His expectation of his wife simply to continue in her role with his devotion offered as enough for her is highly reflective of historical relationships of the 20th century.
Alex Mugnaioni (Bernard Kersal) is highly likeable and shows great comical timing during awkward moments with a simplistic, naturalistic air in his delivery. Philip Rham as butler Mortimer, when playing the piano, adds an additional charm and fun to his character, enhancing the high society ambience on stage and bringing warmth when moments truly need them. Gloria Onitri’s portrayal of Mary Louise is at times a tad melodramatic; however, it works well with her character’s frivolous and often shallow behaviour. Sara Crowe sustains a great level of energy throughout as Constance and Martha’s opinionated and critical mother. Her views encompass those of a generation who perhaps wish they had had more courage to change. Whilst her mother seems dismissive of the undoing of her daughter’s marriage, she nevertheless supports her decisions to take back her independence whatever way it may present itself. Her journey is beautiful to watch as she transforms into a supportive mother determined to understand the choices her daughters make for their own good.
The costumes are tailored beautifully and are designed by co-costume designers Anna Fleischle and Cat Fuller. Using lovely bright colours and at times relaxed casual wear the female characters embrace the theme of independence holding themselves with warmth and relaxed togetherness during challenging moments. Contrastingly the male characters hold closely to traditions with a very formal presentation at all times and are formally well turned out. They desperately try to sustain composure during entertaining and particularly stressful moments however come off more hysterical and childish than intended. The set is simple, but effective depicting elegance and art deco design trends. Transitions in time- as the action takes place in one location- are cleverly executed by set changes which are swift and never detract from the action on stage. Jamie Callum’s musical score, in addition, creates lightness and relaxing vibes when it is most needed increasing the light heartedness of the piece between scenes. Creative team director Tamara Harvey and producer David Pugh successfully bring everything together, enhancing the comedic style of the piece. The cleverly crafted and powerful dialogue compliments the direction well and incorporates Maugham’s intent behind the blueprint of how women may choose to live their lives in the future. There are some echoes of Ibsen’s Nora throughout this entertaining and quick-witted comedy.
Running from 31st March – 4th April at the Festival theatre in Edinburgh this relatable comedy drama is definitely worth a look.
Tickets here.