Is it satire, is it a morality play or is it just a slice of life, as seen through the eyes of the Victorian era in which it is set? That’s the genius of Shaw. And the genius of the Beck Center was to put the play in the capable hands of Scott Plate, who cast the luminous Dorothy Silver as Mrs. Warren. Fortunately, the remainder of the cast is of the same high caliber, making for one terrific theatrical experience!
Mrs. Warren, you see, (who was never a Mrs. in the first place) has earned a tidy living for herself and her daughter through her ‘trade’—that of the world’s oldest. Shrewd as can be, she invested her earnings wisely, and over time—with the help of a none-too-scrupulous partner—she’s become a fairly wealthy woman who’s established ‘branches’ of her business in all the major capitals of Europe.
Daughter Vivie has been well-educated, and combined with her natural abilities, is now poised to enter the business world of London. She’s singularly uncurious about the major missing elements of her life. Her father, for instance, or at least his identity, not to mention her mother’s source of funds. She quite likes the little summer cottage and the young man next door, Frank Gardner, as well as his father, the Rev. Samuel Gardner.
This peaceable kingdom is disrupted first by a friend of her mother’s, the architect, Mr. Praed, then, closely thereafter by Mrs. Warren herself plus her companion (and business partner) Sir George Crofts. Before we know it, Frank and his father also turn up.
Dorothy Silver is a walking acting lesson! Her eyes flash, she smiles like a Cheshire cat, she paces the floor, she plops herself on a table, swinging her legs back and forth in front of her like a young girl—and in that moment we see her as she once was—a young girl with no future, except what she can contrive for herself. Somehow, she becomes younger as the evening goes on in an unbelievable performance that proves once again just why she’s the ‘first lady’ of Cleveland’s theater. She changes in a flash from refined and genteel to Cockney and vulgar--and back again, without so much as ruffling a hair!
Bernadette Clemens is a marvelous Vivie, able to shift viewpoints and emotions from minute to minute. She is a different young lady with each of the men who apparently want something from her, although it takes a bit of digging to discover just what. The sympathetic Vivie, who listens and learns from her mother’s confession is all too quickly swept away by the priggish awareness of just what is represented by her mother’s profession. In her own right, she is brisk and business-like in pursuit of her goals, using exactly those same traits as her mother once used.
Mr. Praed, who seems to have no real purpose in the play, is served well by a genial, somewhat fusty appearing Michael Regnier. Perhaps his role is as the only one of the three older gentlemen with no real claim to being Vivie’s father! On the other hand, Reuben Silver as the Reverend Gardner, and Frank’s father, is quite determined that he could indeed be that mysterious gentleman, and nearly has an apoplexy while trying to convince his son to give up the idea of marrying Vivie, who could, after all, be his half-sister! Full of bluster and dithery with it, Silver is the very model of a country rector, too long in the sun. He is absolutely hilarious.
As Sir George Crofts, Jeffrey Grover perfect displays the icy disdain common to the sort of man with an eye out for himself, while soundly condemning anyone else in the same position. Despite the glaring difference in their ages, he thinks Vivie will be the perfect wife for him, and as he’ll certainly die before she does, she’s bound to enjoy a long life as his wealthy widow. He is seriously affronted by her refusal to participate.
Part of her reasoning is the entirely affable and engaging Frank Gardner as brought to life by Nick Koesters. He is very reminiscent of Bertie Wooster; perhaps this character was the inspiration for the airhead created so lovingly by P. G. Wodehouse. Frank adores Vivie, until she repudiates her mother and her mother’s money. Frank cannot marry for love—he needs to marry money, and so ends his fond dream.
But in the end, everyone continues very much as they began, except for Vivie, who has isolated herself from them all. She will become the modern self-sufficient young woman who can take care of herself. At least she has better tools with which to do so. Although she doesn’t yet quite realize it, this is entirely thanks to Mrs. Warren’s Profession.
Scott Plate’s direction seems to be of the minimalist sort. But then, with such a wonderful play to begin with, and actors of the range and experience of those he ended up with, it really shouldn’t be necessary for him to rule with an iron hand. He did keep it moving briskly, however.
The very minimal set by Don McBride works wonderfully well, and scene changes are done with a minimum of noise and/or delay. The lighting of Trad A. Burns and sound by Richard B. Ingraham are entirely appropriate, adding to the production. But it is the costumes that are simply marvelous. They look as though they came directly from the wardrobe at A&E or PBS or somesuch, where they were tailor-made for each actor. The lavish Victorian dresses are especially gorgeous! Major kudos to Jenniver Sparano for her efforts.
Mrs. Warren’s Profession plays in the Studio Theater of Beck Center through April 30, although there are no performances the weekend of Easter/Passover. For more information, or to purchase tickets for this production or other presentations at the Beck Center for the Arts, call (216) 521-2540 or visit the web-site: http://www.beckcenter.org
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net
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