The production continues to play until the 7th February 2026.
Broadway World: ***** “Seldom do shows like this gain awards, seen as too light and, perhaps with some justification, a little too formulaic for a venue like this. But that is to deny just how very, very difficult it is to execute comedy as skilfully as we see it done here.”
The Guardian: *** “Priestley’s crisp, playful dialogue bounces every line off the same joke, but does so with charm. All is safe and pleasantly silly in this well-made production, if not uproariously so. The stakes are never too high, the tantrums never too long. As the night draws to a close, the couples are a little shaken, and all the better for it. Priestley’s play reminds us to do better by each other, to make the best of what we have – and, should any wedding days be drawing near, to double-check the paperwork so as to avoid a nasty surprise 25 years down the line.”
Everything Theatre: **** “This revival of When We Are Married is a slick production with stage veterans that have the prowess to navigate the nuances of the characters with finesse. Although this rendition hasn’t taken any daring steps, there are tweaks made to modernise the piece and without a doubt it succeeds in delivering an enormously humorous show.”
All That Dazzles: **** “If some of Priestley’s tropes feel “for better or worse,” Donmar’s revival lands firmly in the “for better.” A lively, well-drilled cast, bold design, and a director who keeps the fizz alive to deliver a joyous night that proves you can break the law of marriage and still keep the spirit of it. Consider it a silver anniversary polished to a warm shine, no registrar required.”
WhatsOnStage: **** “This revival of J B Priestley’s comedy of marital disharmony is a hoot, a joyful reminder of the power of supreme comic acting, and the way that humour can reveal truths with a light touch.”
The Standard: **** “It’s a compliment to say that Sheader’s direction is pretty much imperceptible. He seems to just let his fine cast run, without imposing any fussy “vision” on them, although he does allow himself one flourish. There are era-appropriate music hall songs in the first and second act, but the play’s pivotal revelation is greeted with a burst of Beyoncé. “If you liked it then you should have put a ring on it…””
The Arts Desk: **** “Sheader has assembled a dream cast to channel the affluent prudery of Edwardian Bradford’s finest. John Hodgkinson (below, centre), fresh from playing the title role in Titus Andronicus, is Joseph Helliwell, a rather more benign tyrant, while Siobhan Finneran as his wife, Maria, does a fine turn in icy snobbery. Sophie Thompson is superb as Annie Parker, the much put upon wife of Albert (Marc Wootton), who’s as stingy with his affections as he is with his money. Her comrade in marital oppression proves to be Herbert Soppitt (a hilariously repressed Jim Howick) who cowers in the shadow of his wife, Clara (Samantha Spiro).”
The Stage: **** “Tim Sheader’s gently irreverent revival injects energy and fun into this 1900-set marital farce.”
Theatre Weekly: *** “Although the production plays it fairly safe, When We Are Married still provides ample fun with a healthy dose of Shakespearean farce, coated in Northern charm. While the narrative wraps up a bit too neatly, and the second act of the show doesn’t seem interested in mining the full potential of the premise, it’s difficult to feel dissatisfied with what we’re given. With great performances, a script packed with humour, and relatable satire, the production is a lovely helping of festive comedy.”
West End Best Friend: **** “When We Are Married works well in most productions, but with a cast of this calibre, it is not to be missed. It is one of the many achievements of this production that it hints at the sadness of the situation without in any way diminishing the humour. Get a ticket – if you can.”
London Theatre 1: ***** “When We Are Married does not disappoint: the cast is superb, and the play is as good today as it always has been because Priestley knew what he was doing! Very highly recommended!”
London Theatre.co.uk: **** “It’s not a play that can be accused of carrying a surplus of subtext; Priestley wears his themes on his sleeve. And although the revelation at the heart of the story hardly hits with the same impact today, it does highlight the extent to which marriage as an institution rests so heavily on paperwork rather than passion, an observation with perennial relevancy. Ultimately it’s a love letter both to Yorkshire and to the tradition of farce, making it a smart piece of programming for this time of year. Just like a good Christmas cocktail, it’s fizzy, fruity, and eminently moreish.”
The Reviews Hub: **** “Still, Sheader finds plenty to say to modern audiences in a production – puncturing the pomposity of the self-regarding few remains a thing that titillates. As one of the act-opening music hall numbers insists, ‘a little bit of what you fancy does you good’, which essentially sums up this production’s appeal. When We Are Married is Priestley without too much of a sermon, oozing straightforward Christmas-time comfort.”
The Telegraph: **** “The real joy of Timothy Sheader’s adaptation of When We Are Married lies in his cast’s masterful performances.”
The i Paper: **** “It takes a deceptively light-hearted look at some weighty issues and what a rare and delightful tonic it is, in these sobering times, to sit in a “serious” theatre and hear warm gales of laughter echoing around.”
To book tickets visit: https://www.donmarwarehouse.com/whats-on/when-we-are-married-rg17