⭐⭐ (Two Stars)

Tracy Letts’ Mary Page Marlowe, directed by Matthew Warchus, aims to chart the complexities of a woman’s life through a fractured, non-linear narrative and with five different actresses embodying the title role at various ages. On paper, it’s a compelling concept. In practice, however, the production feels disjointed and somewhat hollow.

The concept of splitting Mary Page across multiple performers (Alisha Weir at age 12, Eleanor Worthington Cox at age 19, Rosy McEwan at ages 27 and 36, Andrea Riseborough at ages 40, 44, and 50, and Susan Sarandon at ages 59, 63, and 59) inevitably invites comparison to the excellent West End production of The Years seen earlier this year, and unfortunately Mary Page Marlowe pales in comparison. Where The Years felt like it benefitted greatly from the multiple actresses sharing one role to bring different parts of the character’s life to the forefront, the device in Mary Page Marlowe feels more gimmicky with its storytelling lacking the depth and momentum to sustain interest.

Running at 90 minutes without an interval, the play feels much longer. The vignettes offer glimpses of moments in Mary Page’s life, yet few feel compelling or very consequential. Just as we begin to connect with one version of Mary, the scene ends and we are launched into another period of her life portrayed by a different actor. This fragmentation, rather than illuminating her complexity, left me feeling detached from her story.

The ensemble cast deliver strong work in their limited appearances, but many are left under-utilised, with some barely appearing on stage before vanishing again. Similarly, while each Mary Page actor handles her scene or scenes with skill, there isn’t enough time with any of them to foster true emotional investment.

The production’s in-the-round staging, with added seating on the Old Vic stage, only compounds the frustrations as an audience member. With many somewhat static scenes that involve little movement to adjust positioning, from my seat in the Stage Dress Circle I was often left staring at the backs of actors’ heads. While Rob Howell’s set is minimal, mostly consisting of a few tables and chairs that are rearranged during blackouts between scenes, his costumes do provide useful visual cues for the constant time shifts.

Ultimately, Mary Page Marlowe’s ambitious structure promises a profound exploration of one woman’s life but delivers only fragments, leaving the impression that we are still waiting for something meaningful to happen when the lights go down at the end.

Mary Page Marlowe runs at The Old Vic until 1st November 2025.

Tickets Available Here