Mrs Warren's Profession Review (Garrick Theatre, London)

16 July 2025 I 14:30 I Garrick Theatre, London

⭐⭐⭐⭐⭐

Following George Bernard Shaw's original staging in 1902, Dominic Cooke's revival of Mrs. Warren's Profession honours this historic play while invigorating it with a contemporary stance on womanhood. Classically delivered with an impeccable acting standard, Cooke's vision seeks an unforgiving and brutal edge to the original. A society that condemns prostitution while reaping the economic and societal benefits.

Featuring real-life mother and daughter duo Imelda Staunton and Bessie Carter, the narrative negotiates the relationship between Vivie Warren and Mrs. Kitty Warren, as Vivie uncovers her mother's history in prostitution. A profession deemed immoral, and her privileged lifestyle is funded from such work. With a non-judgemental commentary, Shaw's script traverses the ethical options for a disadvantaged woman to not only survive amidst patriarchy, but prosper.

Alongside a principal cast of six, Cooke introduces an ensemble of ten young women through the transitions of acts, of which are played straight through a 1hr 45m performance without interval, accelerating the urgency of Vivie's world breaking down. Dressed in white gowns, this voiceless ensemble enact a timeless metaphor of womanhood, indicating purity and the suppressed female voice. In tune with Shaw's criticisms of social hierarchy, these fleeting appearances are a worthy addition.

The real, offstage maternal relationship between the leading pair is superbly defining. Portraying a 22 year-old daughter, Bessie Carter is formidable in capturing Vivie's maturity well beyond her years through strict physicality and a measured tempo. With a complex character study, she also finds a sincere innocence that reverts Vivie to a childlike innocence, showcasing immense emotional depth.

Imelda Staunton's turn as a prideful Kitty Warren is highly celebrated. In last year's Hello, Dolly!, her star name felt visible and distracting from the story. Whereas in Mrs. Warren's Profession, I am knocked back by the immensity of her presence and dedication to the role. As a product of a man's world, her matriarchal strength is theatrically giant, a true honour to witness alongside her daughter in a once-in-a-lifetime experience.

Chloe Lamford's visual design is transformative, greeting audiences with a luscious blooming garden. Deteriorating into a baron wasteland and finally a corporate office, Lamford's set divinely mirrors Shaw's integrity and rejection of familial warmth. Paired with Jon Clark's progressively austere lighting, the beauty of the natural world is violently stolen, as knowledge is perceived as dangerous.

Notable performances come from Reuben Joseph's Frank Gardner, a handsomely immature gentleman that often lifts the tone of the production with a cheeky disposition, attempting to climb the social ladder via the Warren's wealth. In equal measure, Robert Glenister's Sir George Crofts is delivered with intimidating and sinister panache, embodying the cruelty of male advantage in the late 19th century.

Saving over £65 per ticket through TodayTix Rush, I am enthralled by Cooke's razor-sharp revival of Mrs. Warren's Profession, a socially pragmatic text radically updated to witness a woman's resistance to oppressive patriarchy. On the surface, themes of prostitution may not appear resonant, however the essence of sexual exploitation and economic injustice has never been more prevalent.