The Constant Wife
March 1984
by W Somerset Maugham, directed by Joyce Evans
Cast: Mrs Culver - Joan Bowditch Bentley - Ben Grimsey Martha Culver - Diana Lucas Barbara Fawcett - Alison Lambourne Constance Middleton - Margaret Butt Marie-Louise Durham - Lynn Trout John Middleton F.R.C.S. - James Pettit Bernard Kersal - Jeff Harreld Mortimer Durham - Gerry Norburn | Production Team: Producer - Joyce Evans Stage Manager - Brian Bowker Production Secretary - Carol Pettit Set Construction - Michael Trout & Roy Wheeler Costumes - Olive Rumford & Miranda Leger Properties - Rosemary Stephenson & Sybil Hopson Lighting - Barry Matthews Publicity - Lynn Trout Prompt - Mary Jones Front of House - Richard Thorne |
Reviews:
From Estuary News:
....the performance of Margaret Butt was impressive in its strength and resource-fulness
The latest production of Estuary Players, set in upper middle-class London of sixty years ago, has little action or physical movement. It progresses through 'developments' within its central theme. This is to do with male versus female in terms of the latter's assertion of the right to equal treatment. It therefore has a contemporary relevance, if only to demonstrate the persistence of the same hypocrisies and arrogance. The weapon used by Somerset Maugham against these vices is a sharp cynicism. At times it is used so heavily that it seems the characters serve only as the medium or object of Maugham's sardonic wit, rather than as subjects of interest in themselves.
As a play The Constant Wife requires some special effort to transpose it successfully and to satisfy today's audience. Estuary Players have managed both, for which much credit goes to the producer, Joyce Evans, and to the designers and creators of the set, which was excellent. Of the players there is much to be said, albeit briefly, in commendation. The male characters, variously trapped in deceit, infatuation or outrage, were well-portrayed in the rigidity of their attitudes by James Pettit, Jeff Harreld and Gerry Norburn.
The leading female roles, played by Margaret Butt and Joan Bowditch, as formidable, and to the male view, disconcerting personalities, were well-supported by Diana Lucas, Alison Lambourne and Lynn Trout. Some plays, and this is one, are very dependent for their coherence upon one central role. Here it was that of Constance, and in that part the performance of Margaret Butt was impressive in its strength and resourcefulness.
