An experimental adaptation of Jackie Collins’ debut novel, *The World Is Full of Married Men*, is currently playing at the Yard Theatre in London, presenting the story through an unconventional and provocative puppet show. The production, created by Malmö Dockteater, a Swedish theatre company known for pushing boundaries, uses intricately designed dolls—repurposed Barbie figures outfitted with pubic hair and exaggerated sexual features—to explore themes of marriage, infidelity, and female ambition within the 1960s showbiz world.

Directed and designed by Erik Holmström, the play delves into the complex dynamics of a long marriage. The narrative centers on Linda, a woman trapped in the frustrations and limitations of 1950s-style housewifery despite living in the swinging 60s, and her philandering husband David, who carries on an affair with the aspiring actor and model Claudia. The story includes graphic depictions of sexual acts—ranging from nudity to explicit scenes of fellatio and cunnilingus—executed with an unflinching frankness that stands out sharply against other adult puppet performances such as the West End’s *Avenue Q*.

The show was originally scripted in Swedish and translated back into English by Lulu Raczka. It is brought to life by two puppeteers, Erik Olsson and Kajsa Ericsson, who provide the characters' voices and occasionally appear as full-sized versions of their puppet counterparts. Their performances are augmented by videographer Josefin Beischer, whose live camera work projects the action onto a large screen, blending the miniature doll scenes with human interaction in a way that heightens both the comedic and emotional aspects of the production.

Set against richly detailed miniature settings—complete with period wallpaper, boutique drinks cabinets, and nightclub interiors—the play captures the atmosphere of the era with precision. Sound design plays a key role, particularly during the explicit scenes, where graphic audio effects underscore the eroticism on display. Despite its unusual format and explicit content, the narrative is firmly rooted in Collins’ incisive examination of gender politics and the power imbalances within sexual relationships.

Although the show abstains from featuring Collins’ more famous character Lucky Santangelo, it still highlights strong female characters who navigate and ultimately overcome the predatory male environment of the time, including David’s assertive secretary. The production also nods to contemporaneous literary reflections on marriage, referencing John Updike’s *Rabbit, Run* series to underline Collins’ literary awareness beyond her reputation as a writer of glamour and scandal.

Reviewers and audiences have found the production both enthralling and imaginative, with many identifying it as one of the standout theatrical experiences of the year. Its bold fusion of puppetry, sexuality, and social commentary signals a new direction in adaptive storytelling and opens the door for further explorations of Collins’ work in this distinctive style. The company has hinted at plans to continue reinterpreting Collins’ back catalogue, with *The World Is Full of Divorced Women* suggested as a potential future project. The show runs through August 1.