And, in a marketing dream, Mrs Warren and her daughter are played in this production by real life mother and daughter Imelda Staunton and Bessie Carter. So before we delve any further into the play and the production, let’s address the question of whether we gained from the genetic connection. I’m going to say, ‘no.’ Of course, I don’t know what intuitive understanding the two may have, but, for me, this could have been any pairing of a great actor and an up-and-coming one. Interestingly there is little physical resemblance between them, Ms Carter being much taller and angular than her mother, which makes their characters’ similarly strong wills more of a surprise.

Imelda Staunton was, as you might expect, phenomenally good. I can’t begin to tell you the complexity and depth she brings to the role. Her Mrs Warren speaks with that affected accent that people of working class origins often adopt when finding themselves in high society- vowels slightly stretched, a nasal tone- and it’s an accent that slips every so often when she’s stressed.

She carries herself stiffly, for the same reasons, but sometimes her shoulders drop along with her defences. She is firm and imperious, with a tight smile, but she is wary of her daughter, whose approval and understanding she craves. So she can be vulnerable, shown most in her widening eyes and loosening jaw. That’s just touching the surface of what she does, constantly offering subtle insights into her character’s feelings.

The daughter Vivie has all the benefits of being the daughter of a rich mother. She has just graduated from Oxford, is a star mathematics scholar and, while at this point society would expect her to marry, she is interested in pursuing a career. She is presented to us as a New Woman, a quasi suffragette who is not interested in such feminine traits as romance and subservience. She buries her emotions and is self contained.

There are two key scenes between mother and daughter. In the first, Mrs Warren, with whom Vivie has had minimal contact during her childhood, wants to get to know her child with the idea that they can be close and she can grow old with the support of a dutiful daughter.

She decides to explain where the wealth came from. She talks of the deprivation of her childhood and the limited choices available to poor working class women. Vivie is shocked but understanding and sympathetic. It’s a scene in which so many layers are stripped and both women, hardened by their lives, show touching emotion. It is especially a moment for Bessie Carter to shine when she reveals both trauma and compassion breaking through her normally buttoned up exterior.

Not for long. As the play progresses, Vivie discovers that the business was not a thing of the past from which her mother retired, as she assumed, but continues to thrive. A second scene is a confrontation in which both show their similarly strong will and stand their ground- Vivie idealistically deploring the immorality involved in prostitution, Mrs Warren pragmatically defending it as a way of becoming and staying rich.

Will Vivie accept the harsh realities of the world? Will Mrs Warren sacrifice her business, and thereby her status, for her daughter? I’m not going spoil any more, if you’re not familiar with the play.

Instead, let’s look at the production. I might have liked it to be less static to counter the almost constant adversarial dialogue but Dominic Cooke directs with considerable finesse. The action is moved forward a couple of decades to 1913, a time which seems less divorced from today than the late Victorian period, and the dresses from that time do look fabulous.

As does the set, also designed by Chloe Lamford. It’s far more minimalist than the naturalistic set Shaw might have intended. We start in a garden filled with a few chairs and lots of flowers. It seems everything is coming up roses. Then the flowers are removed slowly but surely by a troupe of women in period underwear, reminding us of the anonymous exploited prostitutes. At the end we are left with one bouquet of flowers dumped in a waste paper basket in Vivie’s office, dominated by a large desk and surrounded by blank grey walls.

Here’s the thing about Shaw. He may have been a socialist who wanted to write a play exposing a hypocritical society that devalued and exploited women but he didn’t simplify the problem. He created two rounded, flawed characters, who are more than ciphers.

His hero and chief protagonist Vivie is a woman obsessed with work and money, with no apparent love of life, not even theatre. It appears she considers her mother’s profession immoral, not because she has exploited women but purely because it involves sex work. On the other hand, the villain, if you like, has acted out of what to her was necessity and, from her point of view, has done her best for the daughter she loves. His genius is to turn their conflict into a complex drama, that conjures passion, sympathy, anger and laughter.

Other characters are more two dimensional. Sir George Crofts, who was an angel investor in Mrs Warren’s business and has made a fortune from it, is an arch capitalist who points out the business is no different to all the other enterprises that exploit their workers. Robert Glenister portrays brilliantly the man’s cringingly condescending attitude. The Reverend Samuel Gardner represents the hypocrisy of the Church, since he has previously used Mrs Warren’s services. I liked Kevin Doyle’s All Gas And Gaiters interpretation (that’s one for older viewers). His son Frank Gardner, played by Reuben Joseph, is a profligate looking around for a woman to marry so he can appropriate all her assets, as was the law in those days. Mr Praed, played by Sid Sagar, is an architect, but more importantly represents the aesthetes who put art and beauty above all else, including right and wrong.

So, is Mrs Warren’s Profession relevant today? The battle between world weary parents and holier-than-thou children is eternal, and we all face an internal conflict between doing the right thing and putting a meal on the table. Capitalism continues to be a dominant force, making a tiny elite very rich and, yes, bringing wealth to many, but also continuing to exploit an underclass, often these days in China as much as online order delivery drivers. Add to that, exploiting the planet. Women have gained many equality rights but continue to be discriminated against in male dominated industries. Has the hypocrisy regarding work involving sex changed? Clearly not as much as we might like to think. Just last week an male athlete was banned from the 2028 Olympics for raising money through ‘spicy’(his word) videos on OnlyFans.

So there’s plenty to chew on, and, if you’re familiar with the play, you might find a little less fat, since Dominic Cooke has made some judicious edits, which speed it up and remove some of the long-winded bits. The hour and 50 minutes without interval flies by. It certainly whetted my appetite to see more of Shaw, a great dramatist, who seems to be a bit unfashionable at the moment.

I would also like to see more of Bessie Carter. Her mother is one of our greatest stage actors, but she herself has shown in this production that she has the potential to reach that pinnacle too.

Paul paid for his ticket.