Lynn Redgrave, Ruth Gordon, and Milo O’Shea in the original Broadway production of Mrs. Warren’s Profession, photo by Sy Friedman

For our third show of 2008-2009, McCarter offers up a comedy with quite a controversial history: George Bernard Shaw’s Mrs. Warren’s Profession. What’s so scandalous about a play written way back in 1894 by the same playwright who gave us Pygmalion?

For starters, the “profession” in the play’s title is one that was—and is—rarely discussed, especially so openly onstage. Think a certain recent high-profile resignation of a certain high-profile governor, and you’ll get an indication of how Mrs. Warren earns her living.

So as you can imagine, Mrs. Warren’s Profession caused quite a stir when it was first published in the U.K. in 1898, getting banned from public performance for over 25 years. The play was denounced as immoral, corrupt, indecent, revolting, and degenerate. (My kind of theater!) While most of the criticism arose because the play was perceived as glorifying prostitution, it’s more likely that the play struck a chord because it held up a mirror to the society of the day. Shaw did not condemn the prostitutes themselves but rather held the British public accountable for creating an economic and social culture that compelled these women to become prostitutes. By forcing everyday people to face such an “unpleasant” subject, Shaw created a piece of theater that inevitably ruffled some feathers.

The play faced similar obstacles in the U.S. The first North American production premiered in New Haven, CT, on October 27, 1905, but after just one performance, the town’s mayor was so offended that he shut down the production and revoked the theatre’s license.

Nevertheless, the play’s director/producer, Arnold Daly, was determined to bring the show to New York. Three days after its failed run in New Haven, Mrs. Warren’s Profession opened at the Garrick Theatre to a sold-out house. Alas, New York’s mayor shared the same sentiments as the mayor of New Haven. Not only did he shut down the production, but he also had the entire cast and crew arrested, on charges of “offending public decency.” The charges were eventually dropped…on everyone except the house manager. (Watch out, Pam!) (more…)

Before I begin: McCarter’s Single Tickets go on sale today, and may be purchased via the Buy Tickets icon in the upper right corner.

Now, on to something that has me equally excited: The second show of McCarter’s 2008-2009 Theater Series is Lanford WIlson’s Talley’s Folly, directed by Marshall W. Mason. This groundbreaking romantic comedy tells the story of two people from entirely different worlds who find common ground—and unlikely love—on one steamy night in 1944 Missouri.

The production runs from October 12-November 2 in the Matthews Theatre; we’ll have a lot more information on McCarter’s presentation of this Pulitzer Prize winner in just a few short weeks. Meanwhile, here’s some fast facts and light summer reading to whet your appetite for the show.

1.The 1979 production won the 1980 Pulitzer Prize for best play (as mentioned above); it also was nominated for five Tony awards and five Drama Desk awards.

2. Talley’s Folly isn’t the end for Matt Friedman and Sally Talley—Lanford Wilson continues the story of the Talley family in Fifth of July and Talley and Son, forming an inter-generational epic trilogy. The collected edition of all three plays also includes a fascinating timeline and family tree.

3. The collaboration between Wilson and Mason is a rarity in American theater—Marshall W. Mason has directed over sixty productions of Lanford Wilson’s plays, including the inaugural Broadway production, 28 years ago.

Stay tuned for more information on the 2008-2009 Season, and remember: Single Tickets go on sale today!

Posted by Jonathan Elliott, Marketing Manager at McCarter Theatre Center.

It may still be summertime, but here at McCarter we’re already gearing up for the season. For us Marketing folk, that means printing brochures, taking reservations from advertisers, and getting ready to promote the fall shows of 2008-2009.

Our season opens with Herringbone, a one-man, multi-character musical with a book by Tom Cone, music by Skip Kennon, and lyrics by Ellen Fitzhugh. The aforementioned “one man” is the marvelously talented BD Wong, whom you might know from eight seasons on Law & Order: SVU. Or from his award-winning turn in M. Butterfly. Or the Broadway revivals of Pacific Overtures and You’re a Good Man, Charlie Brown. Or HBO’s Oz. You get the idea.

Directing Herringbone is Roger Rees, who’s no slouch himself. As a director, he has worked for HBO, Roundabout, and Playwrights Horizons. He was also artistic director of the Williamstown Theatre Festival from 2005–2007, where he directed BD in Herringbone last summer. Also an actor, he won Tony and Olivier Awards for his performance in Nicholas Nickleby and has recurred on a few television series you may have heard of, little shows with names like Cheers, The West Wing, and Grey’s Anatomy.

Everyone on McCarter’s staff is excited about this show, especially with such an accomplished pedigree. However, we were having a bit of trouble figuring out the best way to explain it to people. Since Herringbone is not only a musical but also a one-man show, reading the script doesn’t really help one understand the tone or style of the piece. Neither does the fantastically imaginative and complex plot: a cane-twirling performer tells, with razzle-dazzle virtuosity, the story of a Depression-era 8-year-old boy who becomes possessed by the spirit of a roguish, tap-dancing, vaudevillian dwarf.

You can see how it might pose a challenge.

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