The drama centers on the dynamic between a mother and her daughter, featuring real-life mothers and daughters. This production offers a fresh take compared to the original 1893 play, which had faced a ban during George Bernard Shaw’s time. In 2022, Caroline and Rose Quentin took the stage at Theatre Royal Bass, but this time, Imelda Stanton and Bessie Carter’s portrayal adds a riveting layer of intimacy and conflict.
Bessie Carter plays Vivie, a spirited young woman eager to pursue a career in law. Her mother, Kitty, portrayed by Stanton, operates a brothel—undeniably one of the oldest professions. The tension escalates dramatically when Kitty visits her daughter, who has just graduated from Cambridge, and reveals this life-altering secret.
You can understand why the play sparked controversy that led to its initial ban. If the Victorians were unsettled by the discussions around sex work, the themes around capitalism’s corrupt underpinnings and societal hypocrisy still resonate today. Dominic Cook’s period production showcases this effectively.
While the production maintains its fidelity to the script, it often feels stripped of naturalism, with its striking set designed by Chloe Rumford—an imaginative blend of flora and fauna against a stark black backdrop. The costumes of the time paradoxically enhance the shock of the narrative, while ghostly figures reminiscent of Victorian sex workers linger in the background, enhancing the theatrical experience.
Yet, when Stanton takes the stage, it remains anything but predictable. Both actresses deliver powerful performances. Stanton embodies a more nuanced and unsettling portrayal, while Vivie maintains a more conventional demeanor. The play crackles with their intense exchanges, but the surrounding characters feel somewhat underdeveloped. For instance, Mr. Prad (Sid Sagar) and Frank (Reuben Joseph), the selfish son of a reverend, often seem like mere echoes of Oscar Wilde’s character archetypes.
Robert Glennister as Sir George Croft perfectly captures the essence of a “capitalist bully,” confronting Vivie while also hinting at the privilege that comes with her societal status.
Essentially, this piece is a static exploration of ideas. It engages in a nuanced discussion, suggesting that sex work isn’t inherently immoral but rather highlights the exploitation and restrictions placed on working women. The interplay of capitalism, high society, and religion is provoked, and the outrage is palpable.
The script retains its intellectual vibrancy, particularly in the mother-daughter confrontation, which shifts our sympathies in unexpected ways. Kitty oscillates between selfishness and honesty, while Vivie presents a more straightforward morality. The generational and class conflicts intertwine with concepts of guilt, rebellion, and the responsibilities between mother and daughter. This portrayal feels strikingly ahead of its time, offering arguments that still resonate today, delivering a thought-provoking experience—albeit without the humor typical of Wilde’s works.
