By Vicki Paris Goodman
As juicy as “The Importance of Being Earnest,” and just as politically incorrect, is “The Constant Wife,” W. Somerset Maugham’s brilliantly clever play about men and women, marriage and fidelity.
The plot is simple yet subtle in its sophistication. Wife Constance (the constant wife, get it?) Middleton knows she is not her husband’s equal, as she has no independent means of supporting herself. As husband John carries on his long-term affair with his wife’s dumb-blonde best friend Marie-Louise, the unflappable Constance doesn’t fret about it. She puts up with it, all the while enjoying the privileged life John has provided. (Don’t grumble yet. Read on.)
Eventually, opportunities for more (a suitor and a career) present themselves. So without missing a beat, Constance acquires a livelihood, thereby establishing her equality with John and making things very interesting indeed–for us, that is, not John. John gets his comeuppance in the most delightful way imaginable. In short, Constance teaches him a lesson he will never forget.
Brenda Kenworthy illuminates the stage as the remarkable Constance, who exhales class, cleverness and good cheer. Even while John is shamelessly carrying on, to feel sorry for Constance never really enters one’s mind.
Jack Millis plays the adulterous John Middleton with every bit as much panache as Kenworthy bestows on her role. They are a perfect match. And that is what makes this production sparkle start to finish for almost two-and-a-half hours.
Millis is impeccable. Watch in Act III as the new and improved (if that’s possible) Constance explains John’s present options to him as she prepares for a vacation with her lover. Millis’ expression flawlessly reflects the dawning of John’s comprehension. He’s not a happy camper, and there’s not a thing he can do about it. It’s delicious!
Harriet Whitmyer is wonderful in the role of Constance’s mother. Some of Maugham’s best and most shameful lines on the roles of men and women are scripted for Mom. And Whitmyer ably delivers each shocking gem in fine cadence.
Elizabeth M. Desloge gives the role of Marie-Louise an affable ineptness that fits with the fact that Constance isn’t very threatened by her affair with John. But one does wonder why the smart-as-a-whip Constance would be the best friend of such a dunderhead. It’s a mystery.
The head-over-heels Bernard receives an at once impassioned and restrained portrayal by Kevin Deegan. I found his believable ardor for Constance unexpectedly compelling.
Other able cast members, all garbed in some of designer Donna Fritsche’s most dazzling costumes ever, are Stacey Marron as Constance’s sister Martha, Courtney Chudleigh as the maid, Stephanie Schulz as the attractive Barbara, and Rusty Vance as Marie-Louise’s confounded husband Mortimer.
Greg Fritsche’s outstanding set design beautifully depicts the Middletons’ 1920s-era drawing room.
So the Long Beach Playhouse gave this production a fabulous cast, with a set and costumes to match. It follows, then, that one of its most talented veteran directors, Phyllis Gitlin, would be assigned the task. She does it proud.
Every so often a play of truly exceptional quality is produced locally. The Playhouse obviously recognized that quality and gave “The Constant Wife” the treatment it deserves. This is one of those very special productions that ought to play to a full house at every performance.
“The Constant Wife” continues on the Long Beach Playhouse Mainstage through March 22. General admission tickets are $22; $20 for seniors. Student tickets are $12 on Fridays and Saturdays with valid student ID. Performances are Fridays and Saturdays at 8 p.m., with Sunday matinees on Feb. 24, March 2, 9 and 16 at 2 p.m.
Call (562) 494-1014 for reservations and information. Tickets are also available online at www.lbph.com.
