Somerset Maugham’s ‘A Constant Wife’ proves itself to be as sharp, witty, and relevant today as when it was first written, and this production at Blackpool Grand Theatre delivers the play with considerable polish, wit, and self-assurance.
At the heart of the production lies a powerful, central portrayal of Constance, a woman defined by her quiet strength and emotional restraint. At first appearing as the dutiful wife, she gradually reveals a sharp intelligence, a keen sense of independence, and an unwavering moral compass. The play follows her discovery of her husband’s infidelity with her closest friend, and, her measured response challenges the social conventions of marriage and gender in her era. Far from succumbing to outrage or despair, Constance navigates betrayal with dignity, wit, and quiet authority, ultimately asserting control over her own life in a manner that is both compelling and subversively modern. Her journey is handled with nuance, allowing the humour to land naturally while ensuring the play’s deeper themes of independence, self-respect, and social expectation resonate clearly. The supporting cast work cohesively as an ensemble, maintaining a brisk pace and a refined sense of comedy that perfectly suits Maugham’s elegant dialogue.
The direction is assured, with a keen sense of rhythm and timing that keeps the text lively and engaging throughout. One of the production’s standout features is the stage design, which ingeniously allows the action to move back twelve months, returning the audience to the exact moment Constance discovers her husband’s infidelity. This transition is executed with clarity and imagination, enhancing the storytelling without breaking the continuity of the action.
Central to the plot is Constance Middleton, played with remarkable control and depth by Kara Tointon. Initially presented as the stereotypical wife of the period—slightly naïve and seemingly dependent on her husband’s lifestyle—she gradually develops into a composed, assured, and quietly formidable woman. Tointon delivers several powerful moments, most notably in the scene where Constance discovers her husband’s affair with her closest friend. Her silent withdrawal from the room conveys heartbreak with striking subtlety.
Another standout performance comes from Sara Crow as Constance’s mother. Her matriarchal presence is delivered deftly and with impeccable timing. Amy Vicary-Smith offers a strong portrayal of the indignant sister, pacing the stage with barely contained outrage as she insists that Constance has a right to know the truth. Tim Delap is perfectly cast as John Middleton, the self-assured liar who remains convinced that his deception has gone unnoticed. Gloria Onitiri’s Marie-Louise Durham is deliciously petulant, portraying herself as the injured party when Constance calmly reveals her awareness of the affair and refuses to respond with fury.
Excellent supporting performances further enrich the production. Alex Mugnaioni brings warmth and charm to Bernard Kersal, Constance’s long-standing friend, with a particularly enjoyable moment when he returns after fifteen years only to be immediately confronted by Constance’s formidable mother. Jules Brown makes a strong impression as Mortimer Durham, the jealous husband finally confronting his wife’s betrayal. Philip Rham completes the cast with grace and poise as Bentley, the loyal servant whose efficiency and discretion never falter.
There are several thoughtful production touches worthy of mention. The play opens with Bentley at the piano with house lights still up, subtly silencing the audience and setting an atmosphere of anticipation. Frequent self-referential moments raise a knowing smile, while the opening of Act Two cleverly mirrors a modern television recap as Martha summarises the events of Act One. One of the most touching scenes comes in the quiet exchange between Constance and Bentley, where their mutual affection and shared confidences reveal unexpected vulnerability and respect for each other. Constance admits the pain of her husband’s infidelity, while Bentley confesses that he has not, in fact, been visiting his mother on his evenings off.
Design plays a significant role in the success of the production. The costumes and set, designed by Anna Fleischle, are superb, and together they transport the audience seamlessly into the refined social world of the period. The attention to detail creates a vivid sense of time and place, immersing the audience fully in the era without ever overshadowing the performances.
Overall, A Constant Wife at Blackpool Grand Theatre is an accomplished and thoroughly enjoyable production. Writer Laura Wade has crafted an elegant, witty, and thoughtfully staged adaptation that honours Maugham’s insight into relationships and the enduring power of quiet personal agency. With a UK tour planned for 2026 ahead of a West End run, this is a production well worth seeing.
Blackpool Grand Theatre - Fri 16 January – Sat 17 January 2026
Reviewer - Jen O’Beirne
On -16th January 2026
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