Competent actors bring to stage a very nondescript story of the greatest stars of the Victorian stage
There is something quietly ambitious about Grace Pervades as it transfers from its residency in Bath into the intimate setting of Theatre Royal Haymarket, bringing tales of English theatrical royalty to its grandeur. David Hare’s play centres on Victorian icons Ellen Terry and Henry Irving, charting their lives and careers through a detailed biographical lens, partly narrated by Terry’s two out of wedlock children.
What unfolds on stage is a thorough account of these fabled stars, though the framing choice raises questions. The inclusion of Edith and Edward Craig as narrative anchors feels uneven, their place in theatrical history suggested but never fully justified within the piece. Their storyline is also difficult to follow at times, with unclear shifts in timeline and focus. Edward is presented as abrasive and often unlikeable, while Edith is positioned as both a feminist advocate and a more reserved, dutiful daughter, a contrast that never quite settles into something cohesive.
At the centre, the relationship between Terry and Irving is drawn with a steady, if somewhat narrow, focus. Ralph Fiennes portrays Irving as a dour, self-involved figure, capable of generosity in building a company yet clearly uneasy about being outshone. His reluctance to fully champion Terry, keeping her at arm’s length after their relationship shifts, becomes a defining thread. Miranda Raison presents Terry as outwardly confident, though repeatedly shown setting aside her own ambitions in service of Irving’s vision. The dynamic reflects the period, but it also leaves many of the female characters feeling underdeveloped, their roles largely tied to facilitating the lives of others.
The performances themselves are assured. Fiennes delivers a controlled and familiar intensity, inhabiting a brooding, looming Englishman that sits comfortably within his range. Raison, by contrast, offers moments of genuine spark, particularly in her renditions of Shakespeare, which bring a welcome sense of variation. Irving’s own Shakespearean monologues feel more uniform, lacking the same sense of discovery.
The production design is effective without drawing focus. A dark, sheet-covered set evokes both backstage wings and the ghosts of past productions, with much of the action contained within a lit central space. Costumes are time-appropriate and well executed, while the ensemble remains polished and supportive throughout. There are occasional noticeable interruptions in pacing, particularly in transitions between scenes, though these are resolved smoothly enough not to disrupt the overall flow.
The script itself proves more challenging. There are flashes of humour, often rooted in theatrical sensibilities, but these moments are balanced by stretches where the pacing becomes slow and the narrative feels static. The play largely confines itself to the professional ambitions of its central figures, offering limited insight into their wider lives. As a result, the claim that Terry and Irving changed theatre forever is not fully realised on stage, especially for those without prior knowledge of their legacy.
This show runs at Theatre Royal Haymarket until 11th July. Tickets here.