George bernard shaw

Some time in the next few weeks, a great ocean liner will be lost at sea. One of the greatest, in fact. When the SS United States made its maiden voyage in July 1952, it was the last word in transatlantic liner design. In an age of ocean-going elegance, the ‘Big U’ was the newest, the sleekest and the swiftest. To this day, it holds the Blue Riband – the all-time record for the fastest transatlantic crossing by a passenger ship. Now, after five decades rusting in dock, and a series of unsuccessful preservation attempts, the United States is about to make its final voyage. Stripped of masts, fittings and its massive red, white and blue funnels, it will be towed out and sunk as a diving reef off the Florida coast. It’s heartbreaking to admit that this might be for the best.

George Bernard Shaw’s provocative play Mrs Warren’s Profession examines the moral hypocrisy of the moneyed classes. It opens with a brilliant young graduate, Vivie Warren, boasting about her dazzling achievements as a mathematician at Newnham College, Cambridge. She explains her future plans to a pair of mild-mannered chaps who clearly adore her. Like most of Shaw’s characters, Vivie is hard-nosed, emotionally cold, incapable of speaking concisely and boundlessly self-confident. Quite irritating, in other words. She plans to start a firm with another hyper-brainy female and to make a killing in the London insurance market. This occurs in 1902. Was it normal for two unmarried Edwardian women to enter the world of high finance straight out of university? Hard to say.

The unlovely Rose Theatre in Kingston is a modest three-storey eyesore. The concrete foyer looks like an exercise area on a North Sea oil platform, and the auditorium itself is a whitewashed rotunda that resembles the chapel in a newly built prison. Yet this cheerless, functional space is perfect for a mischievous new satire, Shooting Hedda Gabler, about recent developments in the acting trade. The central character, Hedda (Antonia Thomas), is a washed-up American starlet who wants to gain artistic credibility by taking the lead in a pretentious film version of Hedda directed by Henrik, a tyrannical Norwegian auteur. ‘There is no script,’ he announces on the opening day. But he’s lying.