Tracy Letts’ Mary Page Marlowe made its debut in 2016 at Steppenwolf Theatre in Chicago, later transferring Off-Broadway in 2018. Now, it receives its UK premiere at the Old Vic as part of Matthew Warchus’ final season, staged in the round.
Letts’ play is a fragmented biography of Mary Page Marlowe, told through a series of non-chronological vignettes. The structure invites the audience to piece together her life like a patchwork quilt, each scene a square revealing a different moment, emotion or decision. Mary’s journey spans decades, encompassing three husbands, two children, a career in accounting, dreams of travel, and a persistent struggle with alcohol. It’s a portrait of an ordinary woman shaped by the quiet traumas and choices that accumulate over time.
Mary Page is portrayed by five different actors at various stages of her life. Susan Sarandon brings gravitas and vulnerability to the older Mary, particularly in scenes that explore regret and reflection. Andrea Riseborough is magnetic in the middle years, capturing the character’s simmering frustration and resilience. Rosy McEwen and Eleanor Worthington-Cox offer nuanced performances as Mary in her twenties and teens, while Alisha Weir, in a brief but memorable appearance, brings a haunting innocence to the twelve-year-old Mary.
The ensemble cast is large, with many actors appearing in just a single scene. This episodic format allows for sharp, focused storytelling, though it occasionally sacrifices emotional continuity. Still, the performances are uniformly strong, and the script’s subtlety ensures that even fleeting moments resonate.
The production is staged in the round, though not always effectively so. Despite the immersive setup, the direction often fails to accommodate the audience on all sides, leaving some viewers with obstructed sightlines and a frustrating view of actors’ backs.
Letts’ writing is beautifully restrained, eschewing melodrama in favour of quiet revelations. Through Mary’s life, the play gently explores shifting attitudes in American society, particularly around gender roles, mental health and personal agency. It’s more literal than The Years, which recently ran in the West End with a similar multi-actor concept, but Mary Page Marlowe benefits from its clarity and emotional precision.
While the staging issues detract slightly from the overall experience, this production remains a moving and thoughtful meditation on identity and memory. It reminds us that every life, no matter how unremarkable it may seem, contains richness.
Listings and ticket information can be found here
