Author: Noël Coward
Director: Philip Wilson
Produced by: Theatre Royal Windsor
Venue: The Arts Theatre Cambridge
Performance: 30 June 2026
The Marquise is a curious blend of middle-aged reflection, romantic confusion and mismatched marriages. Originally set in France in 1735, director Philip Wilson has transposed the action to 1935 – Coward’s own era of the elegant Art Deco world.
The play itself has not been widely performed for many years, and at first it feels slightly creaky. Act One opens during an engagement celebration at the château of Raoul de Vriaac (Simon Shepherd), where we meet his daughter Adrienne and her fiancé Miguel, son of Raoul’s old friend Esteban (Tristan Gemmill). The older men reminisce about their youth, with Esteban gently mocking Raoul for abandoning his youthful joie de vivre in favour of religion and respectability under the influence of Father Clement.
Initially, these scenes feel rather stiff, with surprisingly little chemistry between the supposedly lifelong friends. However, matters soon become more interesting when the young couple confess that they are both in love with other people. Adrienne loves Jacques, her father’s secretary, while Miguel reveals that he is in love with a man in Paris. Their dilemma – whether to sacrifice happiness to satisfy their fathers – gives the play an emotional core.
The evening is dramatically transformed by the arrival of Eloise, the glamorous Marquise herself. Entering unexpectedly through the terrace door, Juliet Aubrey sweeps onto the stage as the Marquise like a breath of fresh air through the rather stuffy château. Her performance is witty, manipulative, flirtatious and entirely captivating. She reminds Raoul that she is Adrienne’s mother and demands to see her daughter, much to his horror. The scenes between the two crackle with long-suppressed attraction and resentment as he insists she leave.
Eloise’s inevitable return, claiming her car has broken down, propels the melodrama forward. Adrienne, woken by the commotion, warmly insists that she remain. From this point onwards, the production finds its rhythm.
Act Two is far livelier and more engaging. Eloise and Adrienne quickly form a touching bond as confidences are exchanged. Eloise’s reunion with Esteban introduces another layer – he is clearly delighted to see his former flame once again, and the possibility of rekindled passion and resulting jealousy – hangs deliciously in the air. Meanwhile we learn Eloise has abandoned another child, with more serious consequences!
The second act also delivers some of the evening’s most entertaining moments: a shotgun wedding and a sword duel, both presided over by Eloise, and several uncomfortable truths finally directed at Raoul.
Visually, the production is extremely stylish. Colin Faulkner’s set design is particularly impressive, with elegant Art Deco walls, a terrace entrance, and a sweeping curved staircase dominating the stage. Above the fireplace hangs the portrait of Raoul’s late wife, silently watching and symbolically keeping him tied to propriety and restraint. The costumes are elegant 1930s with stunning outfits in vivid colours for Eloise. There are some nice lighting touches with the sunset and darkness visible through the side door.
The finale resolves matters warmly and theatrically, with Eloise and the main characters singing Coward’s “If Love Were All”, a charming conclusion that sends the audience out on a note of bittersweet romance.
The supporting cast bring energy to the production while the ensemble handles Coward’s witty dialogue providing laughs for the audience.
Although The Marquise takes a little time to find its footing, this elegant and entertaining revival of one of Coward’s lesser-known plays proves well worth a night out, anchored by a superb central performance from Juliet Aubrey and strong support from the wider cast.
