Written by: Kirstie Ralph (@kjralph)
Richmond Theatre, London
****
An uninhabited, pristine consultation room of a psychiatric
hospital was our introduction to Penhall’s acclaimed play. The room, with its
gleaming metal, polished glass and white faux leather chairs oozed clinical
professionalism, alongside a fruit bowl of oranges which is perhaps more common
in a “Bupa” hospital than one of a failing NHS; little did we know that the
oranges would become the focal point for a play which addresses issues that are
much less obvious and attractive.
The play received glorious reviews in its first West End run,
and amassed several prestigious theatre awards including Lawrence Olivier Best
Play of the year in 2001. Needless to say the excitement for opening night at
Richmond Theatre rippled throughout the auditorium. The play addresses the key
issues of mental illness, race and even tackles the language we use every day
in relation to these. The play comes from the time of New Labour politics, with
Britain immersed in ‘spin culture’: it is riddled with signifiers and epithets
which trap the three central characters in linguistic cross-fires.
The senior consultant Robert (Downton’s Robert Bathurst) is
supposedly the mentor of trainee psychiatrist Bruce (Gerard McCarthy), yet the
friendship and collaborative work is complicated by BPD (Borderline Personality
Disorder) victim Christopher (Oliver Wilson). Robert soon shows his true
colours as the institution’s ‘authority’ which soon appears to be the root of
his pompous buffoonery and love of Radio 4, which provides the basis of the humour
for the largely middle-aged audience. Christopher is initially Bruce’s patient;
however it becomes clear that his zest for the job is also tainted by his over
involvement and lack of professionalism with patients.
What is strikingly tragic about the play is that during the
ever-continuing arguments between the two doctors, Christopher is often in the
middle overhearing and understanding everything that is being said around him.
This is visually presented near the end of the belaboured second act, which is
full of arguing and irresolution, when Christopher finally falls to his knees
in despair. Only this desperate act for attention and one of great need stops
the ‘professionals’ in their tracks. Penhall is indeed suggesting that the
linguistic war and battle of wits is half reason behind Christopher’s madness.
He is constantly being moved from one authority to another, constantly being
labelled – but never being properly cared for; the truth is always being
obscured by Robert who is cynical and corrupt, and by Bruce who ultimately
caves to Robert’s power in order to save his career.
The play was a showcase of a greatly energetic cast who all
performed passionately, however what resonates is how the play never reaches a
clear-cut conclusion. Christopher leaves in the same helpless situation as
before, and now has the added stigma of having been sectioned. Plus, the
doctors remain locked in their petty conflict. This irresolution is definitely
a conscious decision on Penhall’s behalf; but it doesn’t make it any more
dissatisfying.
This production runs until 17 November 2012.
For more information: http://www.atgtickets.com/shows/blueorange/richmond-theatre/
@RichmondTheatre
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