Lillian Hellman’s The Little Foxes slithers its way onto the Young Vic stage with a production as sharp and venomous as the characters themselves. This dark exploration of relentless ambition, fractured family ties, and the destructive power of greed remains a potent commentary on the lengths that people will go to to secure wealth and power.

The play opens with the wealthy Southern Hubbard family hosting a tense dinner party, aiming to secure a business deal with William Marshall (John Light) that could solidify their financial future. Regina (Anne-Marie Duff), trapped in a loveless marriage, sees this venture as her final opportunity to escape her circumstances, with the help of her brothers Ben (Mark Bonnar) and Oscar (Steffan Rhodri). However, their plans hinge on exploiting their ailing brother-in-law for an investment, setting the stage for ruthless manipulation and betrayal.

Lizzie Clachan’s set is sleek and modern, perhaps too much so for the play's turn-of-the-century setting. The contemporary feel serves as a constant reminder of the characters’ insatiable desire for progress, even if it comes at a heavy price. Regina stands out in her striking red costumes similar to the bright olive-green couch that demands attention against the muted beige, taupe, and grey tones, reinforcing the characters’ desire to be seen and to rise above their circumstances. Tingying Dong’s sound design, though occasionally melodramatic, effectively amplifies the tension throughout.

Duff commands the stage with a presence that anchors the entire play. Her controlled anger simmers beneath the surface, revealing a woman desperate to carve out a space for herself in a world dominated by men. Regina’s struggles for agency are mirrored by her sister-in-law Birdie (Anna Madeley) who, though similarly disenfranchised, cannot share Regina’s ambition. Both women are mistreated by the men in their lives and deprived of financial independence. Yet, rather than showing solidarity, Regina dismisses Birdie as naive, underscoring her own blindness to the shared plight of women in a male-dominated world. Her treatment of her daughter, Alexandra (Eleanor Worthington-Cox), adds another layer to her character, as she pushes her daughter towards a “better life” while subconsciously stripping her of the power she has left. Alexandra’s moral clarity offers a sharp contrast to her mother's manipulations, emphasising the family's moral decay.

The Hubbard brothers, Ben and Oscar, are greedy and manipulative, their sibling rivalry crackling with tension. Ben’s domineering presence crushes anyone who stands in his way, while Oscar meekly settles for the scraps of power Ben allows him. However, the tension between Regina, Ben and Oscar occasionally lacks the depth and nuance to feel entirely authentic, missing an opportunity to explore the complexities of their relationship. In the tense moments when these characters interact, it becomes evident that the play often holds back, hesitating to fully confront the intensity of the situation.

Ben and his nephew Leo (Stanley Morgan) have a humorous dynamic with Leo’s attempts to impress his powerful uncle repeatedly falling flat. The relationship between the family and their servants, Cal (Freddie MacBruce) and Addie (Andrea Davy), brings some lightness to the otherwise tense and grey atmosphere. With sharp wit and biting sarcasm, they accurately call out their employers' folly, greed, and negligence, all while embodying the loyalty and devotion expected of servants in their era.

Though the play’s central conflict – the pursuit of wealth at any cost – remains strikingly relevant today, it raises questions about the need for such a revival. Hellman’s story, while powerful, can feel somewhat dated, leaving us to wonder if this version has anything new to say. It makes us question if the creative team could have explored a new perspective or angle to make this revival feel more timely. Still, the play’s exploration of ambition’s corrosive effects on family relationships and gender dynamics offers a chilling portrait of human greed.

The Little Foxes is a sharp, compelling production, but it leaves us questioning whether it needed to be retold at all.

*** Three stars

Reviewed by: Aleeza Humranwala

The Little Foxes plays at London’s Young Vic Theatre until 8 February 2025, with further info here.