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Review: MARTIN GUERRE at The Old Vic

Stuart King 21 October, 2026, 00:31

Boublil and Schönberg’s MARTIN GUERRE first hit the West End back in 1996 where it ran for 675 performances. I recall feeling a tad underwhelmed by it at the time, particularly given the writing pair’s staggering previous successes Les Mis and Miss Saigon. Here we are, 30 years on and Matthew Warchus has played chief meddler and moulder by directing and developing a revised version of the show with new lyrics and material contributed by Annabel Mutale Reed and Paul Hodge. Was it worth stirring the pot? You betcha, without the tiniest soupçons of a doubt.

Martin Guerre at The Old VicMartin Guerre at The Old Vic. Photo by Helen Maybanks

Most noteworthy among the structural changes, is the transitional emphasis from the title character to that of his abandoned wife Bertrande. Played here by diminutive powerhouse Liv Andrusier, (who first caught my attention in the superb RIDE) the character’s feisty stoicism and determination to remain loyal to the young man who abandoned her, is not born of mere idealistic naivety. She is a woman who knows her own mind and refuses to yield to the taunts and approbation of her fellow rustic inhabitants. Guerre runs away to war for seven years during which time Bertrande’s resolve ensures she remains the focus of the sleepy south-western French villagers’ ire. After years of drought and poor crops, even Artigat’s local priest Father Dominic (Adam Pearce) is finally ready to acknowledge God’s wrath for the insult of an unconsummated marriage. Mutterings of witchcraft circulate but attempts to condemn Bertrande are thwarted by Guerre’s surprise return home. War has changed him, yet his reappearance heralds the rains and a hero’s welcome. But is all as it should be as the blissful couple reunite to start a family and claim the land which should rightfully be theirs?

Another significant change from the original (along with vastly improved lyrics), is the musical styling which has assumed an altogether more folky feel in keeping with many recent musical theatre successes like Once, Benjamin Button and Harold Fry. The exposed beauty is especially noticeable in Bertrande’s showstopper “Someday” and the later duets between Bertrande and Martin (Shane O’Riordan whose light tenor vibrato blends seamlessly with Andrusier’s voice in the harmonies), where each display effortless technique and star quality.

On press night, Chris Poon conducted with precision and clarity enabling the notes to work their intimate magic around the auditorium without ever dragging or the need for over-amplification. If you want to know whether things end on a happy or a sad note, you’ll have to go see the show (which is based on a true story) for yourself — and I strongly urge you to do so.

MARTIN GUERRE plays in the round, straight through without interval and runs 1 hour 30 mins. The production continues at The Old Vic until 31st October.

Martin Guerre Tickets

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