Theatre Review: MRS. WARREN’S PROFESSION

George Bernard Shaw wrote Mrs. Warren’s Profession in 1893. Originally banned in England, the play opened on Oct 30, 1905 in New York. Some critics called it “illuminated gangrene”. The following day, on Oct 31, the producer and players were arrested for obscenity. Fortunately, no one got arrested on Thursday, Oct 15, 2026.
 
Vivie (Nell Murphy) is an educated young woman living in England. She graduated from Cambridge in Mathematics. Her posh education and lifestyle have been paid for by her mother, Mrs. Warren (Cyndy Fujikawa). What Vivie doesn’t know is that her mom’s money comes from running multiple brothels across Europe. How will Vivie react when she finds out about the origins of that money?
 
To complicate things a bit more, Mrs. Warren tries to hook up Vivie with Mr. Praed (Stuart W. Howard), an architect. Vivie, however, is romantically involved with Frank (Will Rothhaar), a penniless guy with not much of a future. His father is the local reverend, Samuel (Richard Eden), who might be Vivie’s father, making Vivie and Frank half-siblings. But that’s not it, Crofts (Geoffrey Wade), Mrs. Warren’s business partner in the prostitution trade, is also interested in Vivie.
 
With that conflict structure, Shaw pictures the challenges and professional prospects of women in Victorian England. Growing up poor, Mrs. Warren explains that prostitution was her option to attain financial independence. For Vivie, this becomes a dilemma. How can she support her mom’s business if that entails exploiting other young women like herself? In this play, Shaw uses a powerful device: Irony. Mrs. Warren escaped the oppression of poverty by getting into prostitution, which in turn, oppresses other women. Vivie benefitted from that vicious circle; she received a college education and enjoyed a comfortable lifestyle. Although supportive once her mom justifies her profession, Vivie now has to deal with her own moral principles. Her final decision will determine the future of her relationship with Mrs. Warren.
 
Director Michael Rothhaar remains truthful to Shaw’s realism by allowing the cast to emphasize the motivations of the characters. This highlights the dynamic relationships and re-creates the challenges and attitudes of the era. The play has seven characters, but the main focus is the conflictive relationship between mother and daughter. They are the epicenter of the action, and their relationship affects the way they interact with the people around them. As a play that is centered more in character development than plot, Shaw directs our attention to the characters exteriorizing their internal conflicts when uncomfortable truths are revealed.
 
The cast is pivotal to explore the intricacies of this play. All of the actors bring truth to their characters, giving the audience an opportunity to choose where to place their sympathies. Can we side with Mrs. Warren? Is Vivie’s attitude towards her mom justified? Why does Mrs. Warren continue to be involved in the prostitution business? Fujikawa and Murphy have a commanding stage presence. Their interaction is a superlative demonstration of emotion and spontaneity that creates tension to build up the conflict, a master class of talent here. The male actors are also fantastic, adding a great deal of flavor to the scenes with their portrayal of ambition, weakness, and hypocrisy.
 
With this play, Shaw tried to describe the “New Woman” concept that was spreading across England and the US at the time. By doing so, he was also introducing his socialist ideas, which up to this day, still generate strong reactions. As the play continues to speak to audiences around the world, Pacific Resident Theatre excels in presenting the fight for equality with a renewed energy, balancing out the depiction of realism and symbolism effectively.
 
Mrs. Warren’s Profession
 
Pacific Resident Theatre
707 Venice Blvd.
Venice, CA 90291
 
 
Opening at 8pm on Saturday, September 19, 2026
Schedule: 8pm Thurs, Fri; 3pm & 8pm Sat; 3pm Sundays through November 15
(check website for exceptions)
Closing: November 15, 2026
 
Playwright: George Bernard Shaw. Director: Michael Rothhaar. Executive Producer: Marilyn Fox. Presented by Pacific Resident Theatre.
 
Cast: Richard Eden, Cyndy Fujikawa, Brad Greenquist, Geoffrey Wade, Stuart W. Howard, Nell Murphy, and Will Rothhaar.
 
Creative team: Taubert Nadalini (Set Design), Shon LeBlanc (Costume Design), Michael Franco (Lighting Design).

Theatre Review: Misalliance

A Noise Within presents Misalliance to close out its 2023-2024 “Balancing Act” season. Written by George Bernard Shaw. Directed by Guillermo Cienfuegos. Geoff Elliot and Julia Rodriguez-Elliott are the producing artistic directors.

What can women do in Edwardian England to defy conventions? In the case of Hypatia (Erika Soto), she aggressively chases down the man she likes and rejects marriage proposals. As for Lina (Trisha Miller), she flies a plane and also rejects marriage proposals left and right. In George Bernard Shaw‘s world, these two characters symbolize the beginning of the new female image taking shape in the post-Victorian England, a stark contrast to the passiveness and intellectual inferiority expected from women in previous periods.

To recreate the Art Nouveau interior design from the Edwardian period, designer Angela Balogh Calin used an impressive glass wall and a massive painting to simulate an expansive background garden. Calin’s artisan skills are evident in the multiple details around the set. The walls, the floor, and the furniture décor they all exhibit organic shapes and floral motifs that give off an air of sophistication to the ample stage.

Bear in mind that Misalliance is a wordy play with long monologues. Shaw used some of the characters as an audience for his social and political views. In a few scenes, some characters just sit passively, listening to the other characters go on and on with their monologues. Fortunately, these scenes lead to some of the finest comedy lines in the history of theatre. This play is a masterful combination of inventive dialogue and physical comedy. One of the benefits of having a fine director like Guillermo Cienfuegos is that he allows his superb cast to let loose and bring their craft to another level. The performances of Josey Montana McCoy as the intellectually superior but physically inferior Bentley and Joshua Bitton as the socialist Baker are as hilarious and entertaining as they can be. Add to this the skills of Peter Van Norden, Deborah Strang, and Frederick Stuart and you have the human capital to stage a magnificent production to bring alive the fun madness of Shaw’s study on class, gender, and generation.

Soto, always a lively performer, unlocks that irresistible sense of hysteria that explodes at the first opportunity. She delivers consistent performances and is building up an impressive resume, participating in some of the most iconic productions of ANW.

The Misalliance billboard shows a picture of Trisha Miller as Lina Szczepanowska, which is indeed, the central character in the play. With her commanding stage presence, Miller embodies the perfect Lina, a willful and determined woman with no time for superfluous romanticism. Even though Lina only appears in the second act, it is immediately obvious that this character is the one that turns things upside down. She defies norms and is an inspiration not only to Hypatia but to the male characters as well. Lina is a fearless woman who pushes the limits. With her free spirit, she challenges conventions and is a sneak peek of the things to come for the place of women in society. With this play, Miller adds another stellar performance to her brilliant career at ANW.

Misalliance is another big win for A Noise Within, a company committed to stage relevant and majestic productions, setting a high standard of quality to the theatre scene.

Misalliance

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances May 18 – June 9
• Wednesday at 7:30 p.m.: May 15 ONLY (Preview)
• Thursdays at 7:30 p.m.: May 23, May 30, June 6 (dark May 16)
• Fridays at 8 p.m.: May 17 (Preview); May 24*; May 31*; June 7*
• Saturdays at 2 p.m.: May 25; June 1; June 8 (no matinee on May 18)
• Saturdays at 8 p.m.: May 18 (Opening Night); May 25; June 1; (No 8 p.m. performance on June 8)
• Sundays at 2 p.m.: May 12 (Preview); May 19; May 26*; June 2; June 9
*Post–performance conversations with the artists take place every Friday (except the preview) and on Sunday, May 26.
A student matinee will take place on Thursday, May 16 at 10:30 a.m. Interested educators should email education@anoisewithin.org.

Tickets: anoisewithin.org

Written by George Bernard Shaw. Directed by Guillermo Cienfuegos. Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors.

Cast: Joshua Bitton, Dan Lin, Josey Montana McCoy, Trisha Miller, Riley Shanahan, Erika Soto, Deborah Strang, Frederick Stuart, Peter Van Norden.

Creative team: Scenic designer Angela Balogh Calin; lighting designer Ken Booth; composer and sound designer Christopher Moscatiello; costume designer Christine Cover Ferro; wig and make up designer Tony Valdés; properties designer Stephen Taylor; dialect coach Andrea Odinov; and dramaturg Miranda Johnson-Haddad. The assistant director is Rachel Berney–Needleman. The production stage manager is Angela Sonner, assisted by Hope Matthews.