Review: THE HUMAN BODY, The Donmar Warehouse
Marc Brenner
It’s difficult to imagine life without the National Health Service. To many the NHS is the jewel in the crown of socialism, a towering achievement born from ambition and idealism. The notion that health care might be free at the point of delivery was revolutionary in 1948. Women with prolapses and men with hernias could now be treated without worrying how they might pay for it; all for a simple national insurance payment. It was a nation on the cusp of social change but still coping with peace after six years of war. This excellent new play by Lucy Kirkwood throws light on a tumultuous period in British history.
The NHS is about to launch but there is much to do before the brainchild of Nye Bevan gets across the finish line. Iris Elcock (Keeley Hawes) is a thoroughly modern woman living in the 1940s. She is a family GP, Labour counsellor and prospective Parliamentary candidate. If that wasn’t enough she was also campaign manager in the election of Labour MP Helen Mackeson (Siobhan Redmond). Iris is the wife of fellow doctor Julian Elcock (Tom Goodman-Hill) and mother to seven-year-old Laura (Audrey Kattan). Julian is a war veteran and served in the Navy. He bears scars that won’t heal and is unable to re-connect with Iris. Purely by chance she meets handsome actor George Blythe (Jack Davenport). Although a Hollywood star he regularly visits his mother in England. Coincidentally, Iris is GP to George’s mother and sparks inevitably begin to fly.
Although running at two hours and forty-five minutes time never drags as the narrative cracks along at a lively pace. Stage hands speed around the performance area as they move props into position. Technicians pan around key scenes with hand held cameras. They create a stunning dual effect with live pictures projected onto back screens. The attention to detail is faultless and captures period detail in the dialogue. The conflict felt by Iris is almost palpable as restraint and duty clash with the desire to be loved. The play is hugely reminiscent of the classic movie era evoking memories of ‘Casablanca’ and ‘Brief Encounter’. Two strangers meeting on a train has never felt more romantic or prescient. The production benefits hugely from an excellent cast led by the star power of Keeley Hawes who makes a rare West End appearance. This is intelligent and thoughtful storytelling that demands close inspection.
**** Four Stars
Reviewed by Brian Penn
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