The revival of George Bernard Shaw’s "Mrs Warren’s Profession" at the Garrick Theatre is a testament to the longevity of the play’s themes and the unique dynamic between its lead actors, Imelda Staunton and Bessie Carter. This production, under the direction of Dominic Cooke, is not the first of its kind featuring a mother-daughter pairing; however, it boldly reimagines the complexities of their relationship, casting an unflinching light on the intimate yet often fraught exchanges that characterise their on-stage interaction.
Carter takes on the role of Vivie, a determined young woman recently graduated from Cambridge, who is eager to embark on a career in law. Her mother, Kitty, portrayed by Staunton, runs a string of brothels, revealing a conflict that is as explosive as it is profoundly revealing. The play’s historical context becomes apparent in its exploration of sex work—not merely as a profession, but as a lens through which to scrutinise broader societal issues, including capitalism and hypocrisy. The themes resonated powerfully in Victorian times, and they hold an equally stark relevance today.
Director Dominic Cooke’s interpretation of the play maintains fidelity to the original, yet at times feels a touch muted. While Chloe Lamford’s design offers a vibrant set reminiscent of an English garden, the production occasionally lacks the dynamism necessary to fully convey Shaw's sharp social critiques. Though moments between Staunton and Carter ignite the narrative, surrounding them are various secondary characters who seem to dilute the potency of the central conflict. Critics have noted that certain figures, like Mr. Praed, might feel extraneous to the emotional core of the drama, serving more as echoes of the primary themes than agents of action.
However, it is within the moments of confrontation and dialogue between mother and daughter that the play revitalises its energy. Each sees the world through a different lens: Kitty oscillates between brazen honesty and selfishness, while Vivie embodies an almost puritanical moral stance. This conflict creates a rich tapestry of generational tensions, particularly evident in their nuanced exchanges that challenge audiences to reconsider their affections and allegiances as conflicts unfold.
The production delivers nuanced arguments about the nature of sex work, suggesting that it is not an immoral act in itself, but rather a symptom of the societal exploitation of women. The piece implicates the established norms, presenting a critique of high society and the church. Amid the play’s static moments, its intellectual vitality remains riveting—a testament to Shaw’s prescience in grappling with issues of agency and societal expectation.
In a contemporary setting, where discussions about gender, economic security, and the rights of women are more urgent than ever, the play’s exploration of these themes resonates deeply. As audiences engage with Kitty and Vivie’s fraught relationship, they are invited to reflect on the complexities of familial duty, societal pressures, and the often painful legacies of choices made by previous generations.
This revival thus not only honours Shaw’s original vision but also breathes new life into it, compelling modern audiences to confront uncomfortable truths about class, morality, and the enduring influence of familial relationships.
As the curtain rises on this production, it frames a critical conversation on the intersections of personal and societal morality, making "Mrs Warren’s Profession" a relevant and thought-provoking experience for contemporary theatre-goers.
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Source: Noah Wire Services