Art has the ability to strike at the heart of moral issues, to play with ambiguity in order to guide their audience through the minefield of propriety and decency and reflect who we truly are. This is why work like George Bernard Shaw’s Mrs Warren’s Profession will always be relevant. Ethical questions we are still grappling with are performed on stage in a context that is totally foreign to us today. I found myself while watching the Castle Hill Players truly shocked at the progressive stance of Shaw, who does not condemn the act of sex work, but rather those who profit and champion the conditions that allow it to be unsafe for vulnerable women. There is a reality to this piece that I left the theatre pondering, a mark of a great production.
Directed by Steve Rowe Mrs Warren’s profession is a tight production. The scene changes are quick, and every element is cohesive and well thought out. The sets, designed by Maureen Cartledge are stunning and add so much depth to the production; particularly when paired with the lighting designed by Madhavi Shankarling. The lighting was stunning and often looked like painted scenery when thrown onto the back wall. There is a moment in the production where a moon slowly appears as the scene progresses into the evening. This is done so slowly that I had to check with others that they also saw this and I had not just imagined it. As always with Castle Hill Players, the costuming overseen by Leone Sharpe is impeccable. Sharpe can do no wrong and the attention to detail makes it clear that she is very good at what she does. It is one thing to be surrounded by talented people, but Rowe utilises this team to perfection to bring his vision to life.
The heart of this production is the performances of the Warren women. The titular Mrs Warren is played by Paula Searle who from the moment she steps foot on the stage is commanding and charismatic. Searle plays the formidable Kitty Warren expertly and builds on the energy of those she is acting opposite. This is never truer than her scenes with her on-stage daughter Vivie, played by Daisy Alexis. Vivie is quick, fierce and intensely moral, a combination that could easily be one-dimensional if played incorrectly. Alexis adds so much depth and warmth to her portrayal. The scenes shared by Searle and Alexis are the highlights of the show in my opinion and allow both actresses to show their talent. Alexis shows warmth and care as she gives her mother the grace and understanding of her choices at the end of Act Two, contrasted beautifully with the wounded anger and a changing rougher inflection of Searle in the concluding scene. These women created fully realised characters and shone on stage.
Supporting these powerhouse women are the men in their lives. Christopher Clark does a fabulous job at being the proper, and slimy Sir George Crofts. Clark has endless poise and projects the air of aristocracy perfectly. Crofts is counterbalanced with the decent and warm Praed played by Dave Went. Went's characterisation makes it seem like Praed knows more than he is saying, but the sense to keep it to himself. Went gives him a flighty energy perfect for an artistic heart. Jem Rowe has a wonderful infectious energy as Frank Gardner. So sure of himself and shallow, he would be unlikable if Rowe was not able to make him so damn charming. Rounding out this cast is Jeremy Johnson who plays the long-suffering Rev. Samuel Gardner. Johnson takes a role who is very often the butt of a joke and does some fantastic work, he manages to capture the frantic panic one moment to calm and inviting that only small-town reverends can offer.
Castle Hill Players are known for high-quality theatre and this performance is no exception. I recommend that you make your way to the Pavilion Theatre and see why the reputation that have built over 70 years is well earned.
Photos courtesy of Chris Lundie
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