ate 20 years af
USEVAIRE,
dy the natural
fainy facultivs, to

iy dull enough

persan iv the British pue-
i

I think it’s this Martin ‘Millerchip
sort of self-direct-
ed irony that my editor meant when he
demanded more Shaw in these pages
last year. But it has taken Vancouver
Playhouse artistic director Glynis
Leyshon a little while to get around to
another play by the great Irish play-
wright.
[am pleased to report that the wait aiter The

fi lionat sy was worth it. Leyshon and her ¢
i HHlent production of what
arguably one of Shaw’s more difficult plays

Bann d for 30 vears in Britain because of i
on in )905 — some 20 yea

MOTHER and child reunion

's Professton.
controversial nature, the play's tirst

. After ail,
al ud,

words that lie at the heart of the ie -_ “brothel ke never spol
li

the trade that the tithe character of the play has plied for mast af her suce
alluded te.
Themiatically, however, it’s Shaw's typically emancipated twist of the topic thar pro-
vides the play with its cdge.
Mrs. Warren’s life only took a turn for the better after she turned to d
ing men, Until that mement, she was condemned by her setion in

busir
ple:
waitress 14 hours a day for 14 shillings a week, a job that w
one that killed her half-sister in the (lead) paint factory
The social repercussions of the effects of poverty drive many of Shaw’s plays,
bur seldom have the reasons for going on the game deen argued with greater claci-
ty. And in case any Plavhouse patron misses the point, there: s alwa
Vancouver's street people begging outside the theatre
Bur to concentrate on Shaw's social rhemes, to an
mentary contained in the theatrical debates of his many
the skill of the playwright.

n stage, characters come fir ‘
what they say. Mostly Shaw has it right, bur Mrs. Wa
dian most.

The title character is an intriguing mix of contradictions. An earthy sensualist
by nature, Mrs. Warren has become a shrewd pragmatist with learned mannces
sking breeding — for che most part.
» her daughter Vivie is really the central figure of th and is con-
mensional. Vivie has been raised with mor nt trom
Education has led to henors but no real appreciation of
he has already decided what she wants to do with her lite and the events of
the play oniy reinforce her belief thar people can choose their Greunistances.
juestion lett to be answered is. At what cost?

only the polir al com-
eat plays, is to ignore

Only if'we care about then can we care about
ren presents more problems

pl

3 de Lat

NEWS photo Paul McGrath

Plaza Suite

NORTH Vancouver Community Players mount Neil Simon’s Plaza Suite at Hendry
Hall in North Vancouver Wednesdays to Saturdays through March 14. Curtain is at 8
p.m. Tickets are $12 for adults, $10 for students and seniors. Reservations: 983-2633.

‘after it was written — saw the entire cast

santy

of
sto work as
as an improvement over th

Photo David Cooper

could use more emotion from Shaw, but Goldie Semple, left, and Jennifer Clement

are excelient in the Vancouver Playhouse’s intellectually sharp production of Mrs. Warren’s Profession.

Tn che course of the play, Vivte discovers the truth of her mother’s background, “:

accepts the economic argument of necessity (being goad ta aman who can afford te be
good to her is no different than ma jage tor a woman), learns the truth of her father,
her mother for Hing a lie, rejects love, rejects friendship.
ymay vers well be Shaw's *new™ woman, but her lack of need, doubtless colored
childhood, is inhuman.

i Warren, catching every nuance of the old srollop,
while Jennifer Clement is a crystal-clear Vivie. John Ullyat is outstanding as the Wilde-
like wastrel Frank but Larry Yachimee lacks presence as the seamy super-pimp Crofts.

Pam Johnson's set and Helen Jarvis’s costumes capture symbolism as well as period,
bit Leyshon over-uses the latter — resorting ts sound cues whenever a pivotal moment
is to happen on s

Don't dumb it

the
and

Hd

tas awn, Glynis. Pecan stay home to watch

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