When We Are Married Review: Priestley's 1934 Comedy Upends Gender Roles at Donmar
Review: JB Priestley's When We Are Married at Donmar Warehouse

A silver wedding anniversary celebration in Edwardian Yorkshire takes a wildly unexpected turn in JB Priestley's classic comedy, When We Are Married, receiving a warm and chucklesome revival at London's Donmar Warehouse.

A Wedding Anniversary Unravels

Directed by Tim Sheader, the production is set in 1908 and was originally penned by Priestley in 1934. Three smug, middle-class couples have gathered to toast 25 years of matrimony, resplendent in Anna Fleischle's lavish costumes of fine tweed and lace. Their cosy self-congratulation is shattered, however, by a farcical legal revelation: due to an error by the officiating minister a quarter-century prior, none of them are legally married.

This discovery, highlighted in a brilliantly anachronistic tableau set to Beyoncé's Single Ladies, acts as a detonator under the characters' settled lives. The men's assumed authority begins to crumble as fast as the fancy crockery, while the women glimpse sudden, unexpected freedoms from domestic duty.

Standout Performances in a Skilled Cast

The ensemble cast excels at delivering Priestley's crisp, playful dialogue and revealing the core of each character. Sophie Thompson is wonderfully timid as Annie, while Marc Wootton blusters effectively as the belligerent Albert Parker. A particular standout is Jim Howick as the hen-pecked Herbert Soppitt, whose gastric distress seems equally triggered by rich food and the novel act of speaking back to his wife.

As the port flows and news of the scandal leaks, the chaos draws in a host of townsfolk. Ron Cook provides delightful physical comedy as the increasingly inebriated photographer, Henry Ormonroyd. Janice Connolly plays the chipper charwoman, and Tori Allen-Martin arrives as Lottie, a Blackpool visitor whose familiarity with one of the 'unmarried' men raises eyebrows.

A Cosy, Well-Made Night at the Theatre

This is a production that feels like sinking into a comfortable armchair. The stakes are never perilously high, and the tantrums are amusing rather than threatening. Sheader's direction ensures the evening is safe, pleasantly silly, and easy entertainment, perfectly suited to a chilly London night.

While the play revolves around a single farcical joke, it is executed with immense charm. By the time the long night draws to a close, the three couples are shaken from their complacency but arguably all the better for it. Priestley's underlying message—to treat each other better and make the best of what we have—shines through the comedy.

The play also offers a timeless piece of advice: always double-check your official paperwork. When We Are Married continues at the Donmar Warehouse in London until 7 February.