The Constant Wife

There’s something very satisfying about a show that feels effortlessly clever, and The Constant Wife really leans into that. It has that same kind of polished, slightly biting humour you get from Noël Coward or The Importance of Being Earnest style comedies, where everything looks proper and composed on the surface, but underneath there’s a lot more going on.

This adaptation of W Somerset Maugham’s 1926 play by Laura Wade keeps that period charm but gives it a sharper edge, making it feel far more current than you might expect. The story follows Constance Middleton, who discovers her husband, John, is having an affair with one of her closest friends, Marie-Louise. Rather than reacting in the way you’d expect, she takes a much more controlled and deliberate approach, and that shift is what drives the whole play.

The humour sits in the writing and the delivery. It’s dry, quite subtle at times, and often lands in those quieter moments rather than big punchlines. There were plenty of lines that got a delayed reaction from the audience, which always feels like a good sign, and it gives the whole thing a slightly knowing tone.

As the play unfolds, it becomes less about the affair itself and more about what Constance chooses to do with that knowledge. She begins to question the expectations placed on her as a wife, particularly around money and independence, and slowly starts to reshape the dynamic of her marriage on her own terms. Running alongside this is the presence of her old friend Bernard Kersal, who has clearly always had feelings for her, adding another layer to the story and giving Constance a different kind of emotional option, even if she doesn’t fully lean into it.

Kara Tointon (EastEnders, Mr Selfridge, The Sound of Music Live) is completely central to that as Constance. She plays her with a calm confidence that never really falters, which makes her feel quietly powerful rather than overtly dramatic. It’s a very controlled performance, and it works perfectly for the character.

Playing opposite Tointon is Tim Delap (The Crown, Peaky Blinders, The Diplomat) who brings a slightly more uneasy energy as John Middleton, which contrasts well with Constance’s composure, and you can feel that imbalance shift as the story progresses.

Sara Crowe (Four Weddings and a Funeral, The Real Inspector Hound, Private Lives) adds a lot of the more obvious humour as Constance’s mother, Mrs Culver, particularly in the group scenes where her timing really lifts things. 

Alongside her, Jules Brown (The Shawshank Redemption, Ghost the Musical, Aladdin) as Mortimer Durham and Jocasta King (The Wasp, The Mousetrap, Shoot, I Didn’t Mean That) as Marie-Louise Durham help build out the wider social circle, giving those scenes a natural, conversational feel. 

Alex Mugnaioni (The Taming of the Shrew, Twelfth Night, The Night Manager) brings almost an element of innocence as Bernard Kersal. He returns after years of living in Japan with the same affection and love for Constance, it gives Constance a companionship to rely on.

The set reflects that same balance. It’s clean and elegant, very much in keeping with the period, but not overly detailed or distracting. It feels quite intentional, allowing the dialogue and performances to stay front and centre.

What really stands out is how relevant it feels. Constance’s views on marriage and financial independence don’t feel dated at all, and that’s where the play has its bite. You can feel the audience picking up on that as it goes on, especially in moments where the humour gives way to something a little more pointed - I think that’s why it left the audience laughing out loud, just because at times the punchlines were relatable.

The Constant Wife is witty, controlled and just the right amount of cutting. If you like that classic, dialogue-led comedy with a modern edge, this is a really strong one to see at Lowry.

WE SCORE THE CONSTANT WIFE...




The Constant Wife is on at Lowry, Salford until Saturday 21st March 2026.