Then, last year, she bagged her fifth Olivier Award for her phenomenal turn in his revival of Hello, Dolly!.
The USP of this project is that Staunton stars alongside her real-life daughter, Bessie Carter, in George Bernard Shaw’s 1893 drama about a complex relationship between Mrs Warren, a mother with a dark past, and Vivie, the confident young woman who is the daughter she barely knows.
Cooke has described his process as shaping the work into a Greek tragedy, in which characters are forced to reckon with the heavy consequences of decisions taken in their past.
Chloe Lamford’s beautiful set of a raised circular garden blooming with foxgloves speaks initially of Bloomsbury Group ideas and ideals (Photo: Johan Persson/Mrs Warren’s Profession Garrick Theatre)Quite why the accomplished Vivie, who has just taken a maths degree at Cambridge, would be wasting her time with the rakish fool Frank Gardner (Reuben Joseph) is a mystery.
The difficult answer is that Mrs Warren was involved in “that business”, the profession that dared not speak its name in respectable, hypocritical Victorian society (although Cooke has shifted the action forward 20 years, to 1913), first as a prostitute and then as the madam of a string of European brothels.
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The production offers up occasional moments of huge emotion, all of which come from Staunton, who convincingly suggests a woman who did her best for her daughter without truly thinking through the consequences. Carter, known for her work in Bridgerton and Dear Octopus at the National last year, struggles slightly with her role, making Vivie’s looks and gestures unhelpfully over-emphatic at times.
Chloe Lamford’s beautiful set of a raised circular garden blooming with foxgloves speaks initially of Bloomsbury Group ideas and ideals, of beauty and female emancipation, yet by the end of the play everything – garden and people – all have an entirely changed aspect.
‘Mrs Warren’s Profession’ is at the Garrick Theatre until 16th August (nimaxtheatres.com)
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