Vivie Warren is a woman ahead of her time. Estranged from her wealthy mother, she delights in a glass of whisky, a good detective story, and is determined to carve herself a sparkling legal career in an age ruled by men.
Her mother, however, is a product of that old patriarchal order. Exploiting it has earned Mrs. Warren a fortune and paid for her daughter’s expensive education – but at what cost?
Four-time Olivier Award winner Imelda Staunton (The Crown) joins forces with her real-life daughter Bridgerton’s Bessie Carter for the very first time, reuniting with the extraordinary director Dominic Cooke (Hello, Dolly!, Good) to bring George Bernard Shaw’s incendiary moral classic crashing into the 21st Century.
It’s Staunton doing what she does well, and has done before. Staunch, slightly terrifying. Every line a masterclass in technical precision, in full commitment. And here, it doesn’t work. She’s in a melodrama while everyone around her is in a pleasant garden comedy. She tramples over the humour, the fun, and that means the serious bits don’t stand out. She tries to make us care too deeply before we’ve even got to know her. That’s partly a problem with Cooke’s sharp scissors, which have removed a lot of Shaw’s bloat, but have also stopped us from spending enough time with the characters to ease into them. And even despite the excisions, the play still manages to drag.
But the great virtue of the production is it allows the women to shine. Staunton’s Kitty is a close relation of her Mama Rose, monstrous in her own way, but more understandable and with more pathos. The little moue of her mouth as she speaks with bitter distaste of the poverty of her upbringing is hugely suggestive and invites compassion. Yet for all Staunton’s command, it is Carter who drives the piece, charting with rigorous clarity Vivie’s journey from big-hearted, stuck-up innocent to a knowing woman who might just have a chance of making her own way in a world that will always be against her. She brings to the stage an honesty, a clarity of expression and thought.
| 1905 | Broadway |
Broadway |
| 1907 | Broadway |
Broadway |
| 1918 | Broadway |
Broadway |
| 1922 | Broadway |
Broadway |
| 1958 | Off-Broadway |
Off-Broadway |
| 1976 | Broadway |
Broadway |
| 1985 | Off-Broadway |
Off-Broadway |
| 2005 | Off-Broadway |
Off-Broadway |
| 2010 | West End |
London Production West End |
| 2010 | Broadway |
Roundabout Revival Broadway |
| 2025 | West End |
West End |
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