Review Roundup: What are the critics saying about Mary Page Marlowe?
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| By
Sian McBride
Mary Page Marlowe marks Oscar winner Susan Sarandon’s long-awaited West End debut and reunites notable alumni from Matilda the Musical’s 15-year history. Under the visionary direction of Matthew Warchus, in his final season at the Old Vic, this London premiere of Tracy Letts’s time-jolting drama aims to be more than just a star vehicle — but did the critics think it purred along smoothly, or did the wheels fall off?
What is Mary Page Marlowe about?
At its core, Mary Page Marlowe is a mosaic of a life. The play unfolds over 11 non-chronological scenes, spanning 70 years, and portrays the titular Mary not by one actor but by five (plus a doll for infancy), each capturing different stages of her life.
We first meet Mary at 40, announcing her divorce to her children - but soon the narrative fractures and loops, flashing back to her childhood, youth, marriages, struggles with alcoholism, motherhood, and later years. Rather than offering tidy explanations, the play lets scenes echo one another, inviting the audience to assemble their own portrait of Mary, with all her contradictions and silences.
Originally premiered in 2016 at Chicago’s Steppenwolf Theatre, Mary Page Marlowe has since been produced Off-Broadway and toured, gradually earning acclaim for its daring structure and emotional subtlety. This is its UK premiere, with Sarandon taking on Mary in her later years and sharing the role with Andrea Riseborough, Rosy McEwen, Alisha Weir, and Eleanor Worthington-Cox.
What are the critics saying about Mary Page Marlowe?
⭐⭐⭐⭐ “The execution is faultless” - The Stage
⭐⭐⭐⭐ “Sarandon is transfixingly wonderful: subtle, true and beautifully grounded” - Financial Times
⭐⭐⭐⭐ “Sarandon’s easy stage presence and command are as impressive as her film-star credentials” - WhatsOnStage
⭐⭐⭐⭐ “Alisha Weir and Susan Sarandon absolutely shine” - Theatre and Tonic
“Beautifully directed by Matthew Warchus, who elicits magnificent performances from the ensemble” - The Guardian
“A smart piece of writing” - Time Out