Booked & Scene

At Central Square Theater, George Bernard Shaw’s Mrs. Warren’s Profession gets a sharp and surprising twist in a new production directed by Eric Tucker. The show takes a firm leap out of its late-19th century setting and lands squarely in the world of sleek boardrooms, vapes, and a laptop—without changing a word of Shaw’s original script. It’s a bold move, and one that brings as many questions as it does fresh perspective.

The play, first banned for its controversial subject matter, centers on the relationship between Vivie Warren, a fiercely independent and educated young woman, and her mother, Mrs. Kitty Warren, whose wealth and status come from a line of work Vivie refuses to condone. The drama unfolds as long-held truths emerge, alliances shift, and questions of morality, survival, and social judgment come to the surface.

The Gentlemen’s Club

The men of this production absolutely carry it, each delivering performances that elevate the intensity and complexity of the script.
Barlow Adamson’s Sir George Crofts is all menace and manipulation from the moment he steps into the room. His presence alone ratchets up the tension—smarmy, smug, and just unsettling enough to make your skin crawl.
Nael Nacer brings a refreshing softness to the role of Praed, injecting moments of warmth and levity. He has a steady charm that draws your eyes even in quiet moments.
Wesley Savick’s Reverend Samuel Gardner is hilarious in his disheveled spiral, reacting to shocking news with drunken dismay. He’s a highlight every time he stumbles back onstage.
Evan Taylor, as Frank Gardner, walks a razor’s edge between charming and scheming. He navigates flirtation, family drama, and romantic tension with impressive range—he’s not easy to like, but always interesting to watch.

The Business of Being a Woman

Luz Lopez plays Vivie with sharp edges and steely resolve. Her performance is full of emotional grit, leaning into Vivie’s moral disgust and unrelenting independence.
Melinda Lopez, as Mrs. Warren, strikes an intriguing balance between maternal guilt and sly seduction. Her take on the character feels layered and lived-in—at times tender, at others calculating. You can see the strain behind the smile, which makes her final confrontations with Vivie hit harder.

When the Era Doesn’t Match the Energy

The production’s most puzzling choice is the updated setting. Vapes and a laptop sit awkwardly next to Shaw’s turn-of-the-century language and structure. There’s no adaptation to the dialogue or context—only visuals and props pulling the piece into 2025.
Without the original historical constraints, Vivie’s choice to reject her mother’s money and go it alone loses much of its stakes. In the 1890s, her decision would have been shocking, risky, and nearly impossible. In the present day, it’s almost expected. The result? The emotional and thematic tension between the characters deflates. The central conflict shifts from impossible choice to philosophical disagreement. While we have not made enough progress in women’s rights as I’d like to see, we have moved the needle forward.

Boardroom or Bust

The set is dominated by a massive conference table that stretches across nearly the entire stage. It’s visually striking, but ultimately overwhelming including moments where characters are having an intimate conversation from roughly 14 feet apart. Suspended doorways and windows suggest entrances, but the actors sometimes ignore them altogether, opting to walk offstage or enter from a different corner. This inconsistency, along with moments where actors stand on the table for private scenes while others stare blankly into the audience, feels more disorienting than daring. There’s creativity here, but it’s muddled by lack of clarity.

The Message in the Mismatch

By bringing Shaw’s script into the modern world without altering the text, this production poses an unintended question: What do we lose when we update the visuals but not the voice? The mother/daughter conflict remains compelling, but the broader social stakes: of poverty, survival, and judgment, don’t land with the same urgency in 2025. Instead of debating who’s right, we’re left pondering who acted more justifiably. That may be a worthwhile takeaway, but it’s not the same one Shaw likely intended.
If you’re a fan of classic plays done in unconventional ways, or simply love a good mother-daughter standoff, this production still has something to offer. But if you prefer period pieces to stay in their period, this version might leave you scratching your head.

Mrs. Warren’s Profession runs at Central Square Theater through June 29.