‘The Constant Wife’

Press, 5 October 1984, Page 4

‘The Constant Wife’

“The Constant Wife,” by Somerset Maugham, directed by June Harvest for the Elmwood Players, Fulton Avenue. October 3 to October 14. Running time: 8 p.m. to 10 p.m. Reviewed by Gerrit Bahlman. Better known for his novels and short stories, Somerset Maugham’s plays were very popular in their heyday. As Edwardian social comedies they were seen as dated until recently. "The Constant Wife” written in 1927, is a fine example of the urbanely ironic style identified with Maugham’s writing. The situation is 1920 s but the relevance does not end there. Constance Middleton (Carolyn Davies) is aware of the infidelity of her husband John (Gilbert Wiberg). Her husband’s lover is none other than her best friend, Marie-Louise, played by Michele Johnson. What should a woman in this predicament do? Constance needs little help but advice abounds.

Mother (Irene Macdonald) has an entirely pragmatic view of most things and advises utterly non-feminist viewpoints. “Women are naturally faithful while men are just children!” Mother holds herself above the philandering of men and consequently prevents Constance’s sister (Mary Clark)

and her friend (Rozena Hallum) from telling Constance of the goings-on. Hilariously chauvinist in its early impact, the play gathers momentum as Constance’s awareness becomes blatantly obvious to all and sundry. She provides the screen which rescues Marie-Louise from the clutches of a rampaging husband. John’s cigarette case under MarieLouise’s pillow takes some explaining. The reason for Constance’s shielding of her erring husband will warm the cockles of your 1980 s femininist-oriented heart.

The set for this production was a study of the period. The authentic furniture pieces in the Middleton’s living room were impressive. The room looked real with its ancient piano, writing desk, brocade chairs, chandelier, and telephone. The ornaments and paintings all added to the impression of reality. Old 78 records featuring various Charleston songs and rhythms caught the madly gay era while the costumes were right in the period. Constance’s old flame, Bernard, played by John Howden was able to display a fine standard of wardrobe. He entered in a white suit

with matching spats and trumped that with a gorgeous colourful Wimbledon sporting blazer and cravat, of course. The attention to detail is illustrated by the use of seamed stockings, and the changes of floral arrangements and piano music during the interval. The play caters well for female roles. The men are outnumbered by the women and, unusually, their roles are less significant. Alex Henderson as the quietly efficient butler and Brian Pearce as Marie-Louise’s husband are virtually walk on roles. Gilbert Wiberg, as John, caught the medical smooth gentleman easily. John’s suppressed rage on hearing his wife’s plans worked splendidly but I found his slow cues a little distracting at times.

Carolyn Davies, as Constance, held her character nicely in check. The tendency to overact and send up the characters was a possible trap in this production. Michele Johnson came perilously close to undermining the credibility of the situation with her deliberate comic delivery. This was especially true during the discovery scene. Irene Macdonald caught the cynicism of her character quickly and gave the play its initial interest.