“A sharp, stylish comedy that still feels remarkably fresh nearly a century on.”
The story is a simple one: The Constant Wife, written in 1926 by W. Somerset Maugham, is a sharp, stylish comedy that takes a surprisingly modern look at marriage, fidelity, and independence. Its witty, refreshing perspective on how to navigate an extramarital affair feels just as relevant today as it must have nearly a century ago. The production was absolutely fantastic from start to finish — you simply have to see it.
Kara Tointon shines as Constance Middleton, bringing warmth, wit, and a quietly formidable intelligence to the role. Constance is far more than a conventional housewife or mother — she’s a woman with sharp instincts and a fiercely modern sense of independence. Tointon embodies this with elegance and perfect comic timing, making her performance not only convincing but deeply engaging. She suits the role exceptionally well, capturing both Constance’s charm and her steely resolve.
Adding to the production’s comic strength, Sara Crowe is delightful as Mrs Culver, Constance’s mother, who knows all too well how men behave and what they tend to get up to. This character quickly became my favourite — Crowe’s delivery is pitch‑perfect, and some of her lines were so sharply funny they had the entire theatre roaring with laughter.
Equally impressive is Amy Vicary‑Smith’s portrayal of Martha Culver, Constance’s sister. Early in the play, Constance is due to head to the theatre to see The Constant Wife in the West End with an old flame, Bernard Kersal (played by Alex Mugnaioni) — and can I just add, he is wonderful in the role.
When the second half begins, Constance jokes that most people forget what happened in the first act after the interval — thanks to the break, the chat, and the drinks — and suggests a recap. Martha then delivers this recap flawlessly and hilariously. The sheer amount of dialogue she rattles through is incredible; I honestly don’t know how she managed it.
The dynamic between Constance and her husband is also brilliantly handled. Tim Delap gives a brilliant performance as John Middleton. He begins the play full of swagger and confidence, only to be thoroughly outwitted by Constance, leaving him a grovelling shadow of the man he thought he was — and Delap plays this transition with great comedic skill.
Meanwhile, Gloria Onitiri is captivating as Marie‑Louise Durham. She’s the ultimate love‑to‑hate character: infuriating one moment, then delivering a line so sharply funny you can’t help but laugh out loud. Her on‑stage husband, Mortimer Durham, is played by Jules Brown, who embraces the role of the put‑upon, slightly dim husband wonderfully. His exasperation and her manipulative charm make for a hilarious pairing, and she has him wrapped firmly around her little finger.
Rounding out the ensemble, Philip Rham brings warmth and dry humour to Bentley, Constance’s trusted butler — one of the few people she confides in, and who trusts her implicitly in return. He isn’t on stage much, but every appearance is a delight, and I thoroughly enjoyed his performance.
The staging is wonderfully simple yet clever. At one point, the play flips back a year, and the subtle changes in furnishings reflect this shift perfectly. The use of a slightly translucent wall with a staircase behind it adds depth and gives the sense of constant comings and goings — a great way to keep the energy of the scene alive.
I also loved the music, which captured the feel of the 1920s beautifully. The furnishings and, most impressively, the costumes were spot‑on for the era. And the clothes — wow. Constance’s wardrobe was magnificent; what she wears in the final scene is genuinely stunning. Equally, John Middleton’s wardrobe was perfection. It was giving Monaco Old Money — elegant, refined, and absolutely in character.
As you can probably tell, I thoroughly enjoyed this production. It’s witty, stylish, beautifully performed, and full of charm — a real stand‑out revival that’s an absolute joy from beginning to end. If you get the chance to see The Constant Wife, I can’t recommend it highly enough.
The Constant Wife is playing at Theatre Royal Brighton until Saturday, 28 February 2026. Performances are at 7:30pm, with matinees at 2:30pm on Wednesday and Saturday — so catch it while you can.
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