The Constant Wife, based on the play by W Somerset Maugham, RSC, The SwanRuns: 2h 30m, one interval, until 02 August, 4☆☆☆☆. Review: Roderick Dungate. AD Performance, 12 July 2025

Photo Credit: Johan Persson.

The Constant Wife, based on the play by W Somerset Maugham

RSC, The Swan

Runs: 2h 30m, one interval,

until 02 August

4☆☆☆☆. Review: Roderick Dungate.

AD Performance,12 July 2025

“Fascinating revival, strong performances.”

This 1930s play(actually 1927) is a fascinating revival; its historical examination of feminism is surprisingly relevant today. Moreover,  Somerset Maugham’s ability to construct a mirror of his period may surprise us in the extent to which the  period between the two world wars had a strong current of feminism bringing about societal change.

The term ‘well made play’ became somewhat pejorative as we moved into the thread of angry realism and beyond. But now, even further on, we are able to look back and respect exactly how well made they were, and appreciate the skills of those playwrights to entertain and inform.

The Constant Wife is just such a play. Constance, the protagonist, is forced to acknowledge that her husband has been having an affair with her best friend. But we learn she has known that for a year. Society want to see her as non-empowered, feminine victim; but the story does not end there.The twists and turns underpin a sturdy comedy, easy on the eye and ear, but it packs a great comedic punch. A true delight, and a quite different feel within the RSC’s rich repertoire.

At this performance Constance was played by Jess Nesling understudy to Rose Leslie who was indisposed. She gives a feisty, but relaxed performance. Nesling perfectly slots neatly into this tight and skilled ensemble team. Actors readily encompass the period physicality and accents, employing nuances with aplomb. They all draw us into their world, and we end up caring a great deal about characters whom, on paper, we might not care about at all.

The deceptive easy-going ambience that is created results in much humour, and regular laughs are perfectly earned.

Maugham’s script has been adapted by Laura Wade. Wade’s contribution abut well with the original but they do not exactly dovetail; Sometime you are aware of the joins. So there is a question: Do we really need the changes? The RSC incorporates much of our historical culture; why not let Maugham speak for himself?

Tamara Harvey directs with grace and sensitivity, and Anna Flieschle’s set demonstrates the period’s best design features.

There is a great on-going humourous jewel; the play regularly deconstructs itself with frequent mentions of the play and its title; the plot-so-far summary at the second half’s opening is to die for.

Cast

Bernard Kersal – Raj Bajaj

Mrs Culver – Kate Burton

Constance Middleton – Jess Nesling

Marie-Louise Durham

Bentley – Mark Meadows

Mortimer Durham – Daniel Millar

Martha Culver – Amy Morgan

John Middleton – Luke Norris

Creatives

Writer – Laura Wade

Original Playwright – W. Somerset Maugham

Director – Tamara Harvey

Sets and co-costume – Anna Fleischle

Co-costume – Cat Fuller

Lighting – Ryan Day

Composer – Jamie Cullum

Sound – Claire Windsor

Audio Describers – Julia Grundy/Carolyn Smith