By Steve Crabtree, April 2026
It’s rare that the name of a well-know production passes me by entirely, but The Constant Wife was a story I knew absolutely nothing about. I spotted the play advertised while attending another show, and as soon as I mentioned it to my family, ears pricked up and audible “ooh’s” were thrown my way.
That’s usually a pretty solid indicator that I’m missing out on knowledge of something good. So, my wife and I decided to head to Leeds Grand Theatre for the opening night.
Somewhere between those “ooh” moments and the curtain rising, I learned that this is actually a 100-year-old story. As it turned out, it’s every bit as relevant today as it was in 1926. Perhaps even more so.
With a real mix of seasoned theatre-goers drawn by the Royal Shakespeare Company name and others talking excitedly about the book, tonights audience were clearly here for something high-end. And, The Grand Theatre provided the perfect place for exactly that.
“Uncontrollably laughing”
Settling in to our seats, the first act got underway so subtly. As did this wit, which trickled out. I know W. Somerset Maugham had a reputation for being pretty sharp, but I wasn’t prepared for the sheer level of comedy in what’s a strangely relevant historical plot. It takes a lot for anything to get me uncontrollably laughing, but The Constant Wife managed it repeatedly. It’s humour is very clever, with elements of farce, and that turned what I imagined could have been a dry hook in to infidelity into a very chucklesome evening.
I harp on about the comedy, but it’s gripping too. And that cast helped with that.
Kara Tointon was strictly magnificent as Constance. She was poised and sharp, carrying the character with a cool elegance and intelligence. A really good bit of casting for the lead role, Tointon was in command of her stage, the plot…and her husband.
One of her opposites, Sara Crowe (who many remember from Four Weddings and a Funeral…I remember as the ‘Philadelphia girl’ from the adverts!) playing her mother was a joy. Her timing was impeccable; she’s an absolute master of the meaningful pause.
The set design was something my wife and I were really impressed with too. We were in Constance and husband John’s front room for the duration, and it was a masterpiece of Art Deco style. It was simple but incredibly effective, framing the drama of a world of high-society polish that made the antics up there on the boards even more vivid.
“Stole the show”
As regards the outfits, although of their time I didn’t feel there were many stand-out costumes on show for this one. Except, of course, for the various outfits of Constance – where class just draped off her at every turn.
But, the clothes were very much down the pecking order for me. In fact, it was Alex Mugnaioni playing Bernard Kersal who was the most memorable part of the night. He stole the show a little, with amazing physical humour that hit us with barely any effort at all. The mother/daughter mistaken identity sequence, followed by a look of pure relief when the confusion cleared was one of the funniest things I’ve seen on stage in many years.
But then, we got another high level funny as Act Two started. I’ve not seen a second half begin in such a way – a massive smile making start, and for something based on that time period, the play carries on moving at a really good pace.
“The best play I’ve ever seen”
However, the theatre wasn’t just filled with laughter. Away from the comedy, there were moments of profound, sad tension that swept across the room when Constance finally realised the extent of what was happening. Pin drop moments. It was a testament to the writing that we could go from a belly laugh to that hollow, heavy feeling in seconds.
Not only that, it handles sexuality, narcissism, vanity and female independence with a bravery that must have been shocking a century ago. But in a way that it could have been written that morning.
As cliche as it sounds, this was one I didn’t want to end. The Constant Wife is quite possibly the best play I’ve ever seen. It’s a strong, clever story that tackles modern issues through a vintage lens. I think it shows that Maugham was probably years ahead of his time.
It’s rare to find a show that balances wit and genuine heart (with a sprinkling of farce) so well. And, if the other few hundred that were in attendance were as enamoured by the performance as I was, we had lots of happy people heading home after opening night.
The Constant Wife continues its run at the Leeds Grand Theatre until Saturday 18th April
images: Mihaela Bodlovic
Steve Crabtree( Writer )
Give Steve music, give him food, give him theatre, tech or travel… and he’s a happy man. He’s been writing professionally since 2003, turning to journalism in 2017 when it offered him the chance to enjoy a lot of his existing passions, and learn some new ones at the same time. Steve can be found spending many of his summer nights watching bands at The Piece Hall in his hometown of Halifax, or enjoying a bite to eat and a drink with his wife anywhere in Yorkshire at any time of year. Random fact: He does the best impression of Zippy and George from Rainbow that anyone has ever heard.
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