SOMERSET Maugham’s The Constant Wife is a sophisticated discussion of the virtues of tolerance in a middle-class marriage. Written in 1927, it is heavily indebted to the witty epigrams of Wilde and the social debate of Shaw.

A late runner in the long line of plays about sexual equality, it contains little dramatic action, relying for interest on good-humoured confrontations between a philandering husband and his tolerant wife, whose relationship survives on good manners, not love.

Directing such a sequence of conversations, in which the strongest emotion is surprise with a dash of indignation, Gloria Kendrick used pace, intonation, contrast and tension to keep the audience chuckling and listening throughout this very wordy play. The professionalism of the decor and costumes evoked the civilised and bohemian life of the wealthy Londoners and the experienced cast members were able to deliver their many words with such clarity and assurance that not a line of repartee was lost. By careful positioning, pacing and timing, the director gradually built the mood towards the final moments of the play.

Constance, the wife of the title, was played with charm and vivacity by Jennifer Major, who bubbled from her first entrance. Her control of intonation, timing and stage business went well with the unruffled Dominic Walker as her husband, John.

They were supported by Elena Spisto as John’s mistress, Marie Louise, who was especially effective in the second half of the play, and Brian Couling as Constance’s rekindled old flame, Bernard. The eruption of Maie Louise’s deceived husband, played by James Taylor, and his subsequent defusing by the cunning Constance was one of the highlights.

Commenting on these complexities, rather than part of them, were Pip Stacey, as Martha, Constance’s prim and puritan younger sister; Hilary Cox as their bohemian and rather cynical mother, and Maura Ross as the family friend. Mother and daughter were neatly contrasted and the well-timed epigrams kept the audience chuckling.