Genre: Classical, Drama
written by George Bernard Shaw; directed by Kathleen O'Neill

BOO-Arts Productions is pleased to announce their production of George Bernard Shaw’s MRS. WARREN’S PROFESSION, directed by Kathleen O’Neill. MRS. WARREN’S PROFESSION will play a three-week limited engagement at Manhattan Theatre Source (177 MacDougal Street, New York, NY 10011). Performances begin Wednesday, April 1st and continue through Saturday, April 18th. Opening Night is Thursday, April 2nd  (7 p.m.). 

Mrs. Warren is the proprietress of a string of highly successful brothels. Her daughter, Vivie, is a modern young woman, but not so modern that she can ignore the source of her mother's wealth. The clash of these two strong-willed and culturally constrained Victorian women is the spark that ignites the ironic wit of one of George Bernard Shaw's greatest plays. Initially banned after its 1893 publication for its startling frankness, Mrs. Warren's Profession, a withering critique of male domination, sexual hypocrisy, and societal convention, remains a provocative and powerful work of progressive theater.
The production stars Joy Franz (Original Broadway productions of Pippin, Musical Chairs, Open Admissions and Into The Woods; Broadway revivals of Guys & Dolls and Into The Woods), David Palmer Brown*, Ashton Crosby, James Dutton, Joseph Franchini* and Carrie Kozolowski.

Costume design is by David Withrow (IT Award recipient for Bug Boy Blues).

MRS. WARREN’S PROFESSION plays the following regular schedule through Saturday, April 18th:
 Wednesdays at 7 p.m.
 Thursdays at 7 p.m.
 Fridays at 8 p.m.
 Saturdays at 8 p.m.

Tickets are $18 and are now available online at or by calling 212-501-4751. Tickets may also be purchased in-person at the Manhattan Theatre Source, 177 MacDougal Street.

For more information about Mrs. Warren’s Profession visit


Cast: Joseph Franchini, Carrie Kozolowski
Preview:   04/01/09
Open:   04/02/09
Close:   04/18/09

Wednesdays at 7 p.m.
Thursdays at 7 p.m.
Fridays at 8 p.m.
Saturdays at 8 p.m.
Theater:   Manhattan Theatre Source
Address:   177 MacDougal Street
New York,
Google Maps
Buy Tickets Online or Call: Ovationtix at 212-501
Company: BOO-Arts         Official Web Site:

Joy most recently made her Shakespearean debut in Othello as both Amelia and Desdemona’s father Brabantio at the New Harmony Theater in IN. Joy is most recognized for her work with Stephen Sondheim on Into the Woods (original, revival, PBS, national tour), Assassins (original), A Little Night Music, Company, and Merrily We Roll Along. Other Broadway: Pippin', Musical Chairs, Bernstein's Mass, Open Admissions, Sweet Charity, Bitter Tears of Petra Von Kant. Favorite tour: Damn Yankees (Meg Boyd) with Jerry Lewis. Off-Broadway, she appeared in Tomfoolery, All My Sons, Jacques Brel, Fair Game, The House of Bernarda Alba, I Can't Keep Running In Place  TV: Law and Order, Central Park West, Late Night with Conan O'Brien and most NY soap operas. Film: Under Red Lantern (Grace) and No Picnic for Penny (Penny's mother).  Joy is very grateful and a proud member of Actors Equity Association.

David began his career in Washington, D.C., studying with Joy Zinoman at The Studio Theatre and with Mark Hammer, Halo Wines and Stanley Anderson in their intensive summer training program, An Acting Workshop.  He then went on to study at Catholic University, where he worked with Bill Graham, Mark Hammer, Maurice Daniels (of the RSC) and Glynne Wickham (of The Bristol Old Vic).  In D.C. he played Mark Porter in CatCo's production of "Canned Fruit", Branch Rickey in The Kennedy Center Theatre for Young People's production of "The Most Valuable Player", Dracula in The National Player's touring production of "Dracula", and Agamemnon in The Washington Shakespeare Theatre's production of "Orestes' Trial".  In New York favorite roles include: Frank Elgin in "The Country Girl" at The New Actor's Workshop; Thomas Becket in "Murder in the Cathedral" with Theatre St. John; Prokhor in "Vassa Zhelenova" at HB Playwright's; Arnie Mishkin in "Mishkin's Paradise" at St. Clement's Theatre; the Oldest in "It's Not Even Past" with Push Productions; the Son in "The Antique Shoppe" and Richard Grayson in "Moonlight and Love Songs", both at The Workshop Theatere;and as double cast as The John/George in "Arthur Murray Taught Me Dancing in a Hurry" with Theatre 54 and Gottchalk/Sarder in Theatre of Necessity's American premiere of Mnouchkin's "Mephisto".


Ashton Crosby's NYC theatre debut was scheduled for the night of JFK's assassination.  Remember that?  Obviously, the show was cancelled.  There ensued a forty year hiatus whilst he pursued another career: teaching English, Latin & Theatre upstate.  Now retired from the classroom, he's happy to be back in the City & on stage.

Recent New York appearances include MARK TWAIN as part of the Meet the Artist Series at Lincoln Center, and THE MAN (VONNEGUT) in SLAUGHTERHOUSE FIVE at 59 East 59.  Regional credits include roles at New Jersey, Pennsylvania & Virginia Shakespeare Festivals.  He has also been in numerous indie films which no one has ever seen.

James Dutton is British Native. In London James attended The London Academy of Music and Dramatic Arts. Recently he graduated from the School for Film and Television in New York. Since graduation James appeared in the Cohoes Music Hall's production of Noises Off. Other New York credits include, Mercury Fur, and Depravity a film by Ross Evison. In April James can be seen in Brit Bits  by  Mind the Gap Theatre Company.


Is the founder and Director of BOO-Arts, a company she began after twenty years in the “Business”. As a director, actor, teacher/coach and producer, she has worked in New York, Boston, Miami, and at the University of Wyoming.  Directing credits range from Pinero’s Short Eyes and William Wells' Gertrude Stein and A Companion, to Blithe Spirit by Noel Coward. The successful and critically acclaimed production of The House of Bernarda Alba launched BOO-Arts.  Most recent NYC acting credits include originating the role of Su in A Collapse (Manhattan Theatre Source/NYC Fringe Festival), Lyubov in Cherry Orchard and Clytemnestra in The Greeks; other favorites include Olympia in The Conduct of Life and Jessica Lyons in The Cat’s Paw. She has been working for the past 8 years as a director, actor and volunteer for Manhattan Theatre Source, where BOO-Arts is a resident company.


(1856-1950) was born in Dublin, the son of a civil servant. His education was irregular, due to his dislike of any organized training. After working in an estate agent's office he moved to London (1876), where he established himself as a leading music and theatre critic in the eighties and nineties and became a prominent member of the Fabian Society, for which he composed many pamphlets. He began his literary career as a novelist; as a fervent advocate of the new theatre of Ibsen (The Quintessence of Ibsenism, 1891) he decided to write plays in order to illustrate his criticism of the English stage. His earliest dramas were called appropriately Plays Pleasant and Unpleasant (1898). Among these, Widower's Houses and Mrs. Warren's Profession savagely attack social hypocrisy, while in plays such as Arms and the Man and The Man of Destiny the criticism is less fierce. Shaw's radical rationalism, his utter disregard of conventions, his keen dialectic interest and verbal wit often turn the stage into a forum of ideas, and nowhere more openly than in the famous discourses on the Life Force, «Don Juan in Hell», the third act of the dramatization of woman's love chase of man, Man and Superman (1903).

Other important plays by Shaw are Caesar and Cleopatra (1901), a historical play filled with allusions to modern times, and Androcles and the Lion (1912), in which he exercised a kind of retrospective history and from modern movements drew deductions for the Christian era. In Major Barbara (1905), one of Shaw's most successful «discussion» plays, the audience's attention is held by the power of the witty argumentation that man can achieve aesthetic salvation only through political activity, not as an individual. The Doctor's Dilemma (1906), facetiously classified as a tragedy by Shaw, is really a comedy the humour of which is directed at the medical profession. Candida (1898), with social attitudes toward sex relations as objects of his satire, and Pygmalion (1912), a witty study of phonetics as well as a clever treatment of middle-class morality and class distinction, proved some of Shaw's greatest successes on the stage. It is a combination of the dramatic, the comic, and the social corrective that gives Shaw's comedies their special flavour. (