Review: MRS WARREN’S PROFESSION, Garrick Theatre
Johan Persson
George Bernard Shaw’s brilliant play MRS WARREN’S PROFESSION was written in 1893 and after a private London performance in 1902 had to wait until 1923 for its first public performers in England. One hundred years later the wonderful writing sparkles and electrifies in the hands of a first class cast at the Garrick Theatre. It’s examination of the “moneyed” classes and the morals of living off immoral earnings, may have its roots in the male dominated Victorian society but its powerful portrayals on a woman’s right to choose who she marries and how she earns a living still resonates wonderfully today.
The casting of Imelda Staunton, and Bessie Carter as mother and daughter of course reeks of commercial casting to attract an audience, just as the Bath Theatre Royal production of the title did with Caroline Quinton and her own daughter Rose in 2022 in the same roles. Yet the scenes between them are simply superb. They speak the lines with such clarity and venom (when required) that the knowledge of their offstage relationship just emphasises the quality of their performances. The pivotal scenes in which Kitty reveals her life story to her daughter Vivie are highly charged emotional tour de forces. Vivie’s rejection of her mother pleas for a traditional relationship are chilling and righteous in equal measure and when she screams “Are you my mother” It is an acting master class.
They are ably supported by the delightful characterisations of the creepy financial backer, Crofts played by Robert Glenister , the shocking exposure of Rev. Gardiner, played by Kevin Doyle and the uncomfortable infatuation of Frank Gardiner (Reuben Joseph) for Vivie. Only the loyal and constant Mr Praed (Sid Sagar) has any integrity and shows not all men are driven by status, money and sex. Curiously Frank addresses his father as Guvnor which reminds us of another of Shaw’s wonderful creations, Doolittle in PYGMALIAN, another social climber without money.
The cleverness of the play structure and eloquence of Shaw’s words do not need the heavy-handed devises of Dominic Cooke and designer Chloe Lamford’s setting. The idyllic beauty of Vivie’s garden in Surrey is stripped away over the course of the play by a team of ten ladies of the night who Mrs Warren has employed. They haunt the proceedings and revelations until we gin ally see Vivie alone in the grey austerity of her London Chambers. We don’t need such pointed staging to tell the story which Shaw’s writing does so well. At least they let it remain at the turn of the century before the First World War to leave is to draw our own relevance to todays’ society.
Staunton proves once again she is one this century’s greatest actresses with a versality and power to play Dolly Levi , Mama Rose, Mrs Lovett, Kath in Entertaining Mr Sloane, and Professor Umbridge in Harry Potter, women who dominate their scenes and manipulate their acquaintances. But on this occasion, she meets her match with her own daughter, Bessie Carter, who holds her own and sparkles in this wonderful well-acted production.
**** Four Stars
Reviewed by Nick Wayne