Ralph Fiennes’ love letter to theatre

Theatre Royal Haymarket

A second David Hare play hits the West End. Grace Pervades, transferring from Theatre Royal Bath, is very different to Teeth ‘n’ Smiles, the latter centring on a 60s rock band, the former on the leading 19th century actors Ellen Terry and Henry Irving. It seems superfluous to say that the two leads Miranda Raison and Ralph Fiennes received high praise. The critics’ reaction to David Hare was more mixed (‘great humour and excellent control’ WhatsOnStage); ‘It’s easy to admire the craft here, but you engage at a distance’ (The Stage).

Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

4 stars ⭑⭑⭑⭑

WhatOnStage’s Sarah Crompton declared: ‘Hare writes a love letter to theatre itself, at a time when it was defining its journey into the next century. He does so with great humour and excellent control, beautifully conducted by director Jeremy Herrin.’

The Times’ Clive Davis was diverted by it : ‘It’s a quirky, anecdotal piece which, at its best, is much more amusing than you might expect.’  It was, he said, ‘An evening that celebrates the art of illusion weaves one shimmering backdrop after another.’

The Telegraph‘s Dominic Cavendish thought: ‘David Hare’s genteel homage to (Terry and Irving), and to the changing face of theatre itself, elicits a delightful double-act from Ralph Fiennes and Miranda Raison; he the model of distinguished propriety, she the radiant antidote.’

3 stars ⭑⭑⭑

Broadway World’s Aliya Al-Hussain wrote about the leads: ‘Ralph Fiennes and Miranda Raison are beautifully paired as the couple, with Raison’s Ellen giving warmth and encouragement to Fiennes’s intense and serious Henry’; ‘Raison radiates life and ambition; her world view is much broader than just the theatre and she reflects that life experience on stage.’

Julia Rank at LondonTheatre pointed out: ‘Jeremy Herrin’s production is on the leisurely side and indulges Hare’s tendency towards exposition, with some unnecessary interludes. We’re informed that Irving and Terry were magic in performance and it’s a mistake to try to recreate snatches of their most famous Shakespearean roles with a style that now comes across as mannered.’

Tom Wicker from The Stage said: ‘Raison is luminescent as Hare’s take on Terry, bringing a quicksilver intelligence and a hard-won smile in the face of challenges.’ But he thought: ‘Hare’s writing is typically elegant and artful. It’s as carefully framed as Herrin’s staging…It’s easy to admire the craft here, but you engage at a distance.’

The Standard’s Nick Curtis called it ‘a warm, entertaining love-letter to a blended family of British theatrical pioneers, in which Ralph Fiennes sends himself up delightfully.’ He concluded: ‘Some may wonder why the once-radical Hare is wallowing in heritage theatre, but in fact this is anything but. Under all the period trappings and self-referential lines it’s a celebration of the protean spirit of the stage and the committed, charismatic, animating figures – like Irving and Fiennes – who keep it alive and push it forward. Sit back, relax, enjoy.’

Tim Bano at Time Out decided: ‘It’s all good fun, a cheeky, self-referential and sometimes self-critical play. Never exceptional, but nor too dull, Hare’s play becomes a sweet panegyric, and a really traditional, really entertaining night both at the theatre and of the theatre.’

2 stars ⭑⭑

The Independent’s Alice Saville counterblasted: ‘Hare clearly loves theatrical history. But he doesn’t let his audience love it too, because he’s too obsessed with overlaying it with his own agenda of old (good) versus new (diabolical). Jeremy Herrin’s production feels as stiff and mannered as the traditions that Edward Gordon Craig tried to sweep away. The new may be shocking, but at least it’s rarely quite this boring.’

Critics’ average rating 3.3⭑

Value rating 27

Grace Pervades can be seen at Theatre Royal Haymarket until 11 July 2026. Buy directly from www.gracepervadestheplay.com

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