Review: THE CONSTANT WIFE, Theatre Royal Brighton

Its 1927 in high society London, and Constance Middleton is living her best life. Or so it seems.

She has a handsome and devoted husband who has provided her with all of life’s luxuries, yet also has an interior design career of her own that provides her with her own freedom and agency - what more could any woman want in 1920’s England? Well, the problem is that her devoted husband is equally as devoted to her Best Friend….

Adapted by Olivier Award-winner Laura Wade from Somerset Maugham’s original play, The Constant Wife, this new version is directed by Co-Artistic Director of the RSC Tamara Harvey and is now embarking on a UK tour which, delightfully, opened in Brighton this week. It may not have played to a full house, but this superb adaptation certainly brought the house down.

The cast is anchored by Kara Tointon as Constance, and for someone who is rarely off stage, Tointon is able to bring an unbounding energy to the role. She truly IS Constance. She sparkles. The kind of sparkle that makes everyone around her shine more brilliantly than they already do. And brilliant, they are. Amy-Vicary Smith as her sister Martha is the perfect mouthpiece for the modern woman – both then and now – as she yells incredulously at WHY no-one else seems to think Constance should be told that her husband John is cheating on her. And WHY women even need husbands anyway…

As Act 1 progresses we’re treated to a prolonged flashback to one year prior that tells us more about John’s infidelity origin story. It’s hard to hate Tim Delap’s John as he’s written as a fairly layered character for such a philanderous idiot. He’s been given a generous edit by Wade. Although it does help that he’s played with incredible charm and vigour by Delap. Speaking of charm, I defy anyone to not fall in love with Alex Mugnaioni’s hapless Bernard. Long-time friend and secret admirer of Constance, Bernard is devoted in the truest way and is a solid foil to the dastardly John, embodying everything that Constance deserves. #JusticeForBernard.

Anna Flesichle’s art deco flourishes on the set design perfectly complement her costume design. Everything feels luxe and luscious. In using just one static set piece (and just adapting it subtly and slickly for the time jumps), it adds to the sense of Constance being rooted, or stuck in one place.  To the expectations of society that a woman needs a man to survive. A harsh reality for most women back then, and sadly still is now, for some. Both Constance and Martha are feminists and are exploring what that means in different ways – and that’s what makes them so relatable to a 2026 audience.

In short, this comedy is a must see. No arguments. The sharp and incisive writing is only bettered by the talent of the cast that delivers it. Five stars, no notes.

The Constant Wife is playing at Theatre Royal Brighton until Saturday 28 February, before embarking on a UK Tour.

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