With the NHS celebrating its 75th anniversary last year, we find ourselves with two health service origin stories currently running in London. Over at The National, the story is told from Bevan’s point of view, in Lucy Kirkwood’s The Human Body, premiering at the Donmar Warehouse it’s those implementing his policy who take centre stage.
Set at a pivotal moment in the creation of the NHS, The Human Body takes us to Shropshire where Labour councillor, and GP, Iris Elcock is implementing the National Health Service Act, which revolutionised health care in this country.
But as well as juggling two careers on top of being a housewife (this is the 1940’s), Iris also manages to fit in an affair with a Hollywood film actor. George is back from LA, visiting his mother, and he and Iris meet on the train to London.
It’s more a love story than a history lesson, though it does provide much social commentary on the NHS, both then, and in the present day. The other side of the coin is reminiscent of Brief Encounter, both for the chugging steam train effects and the tragedy of the story. The production may not be unaware of this as one of the characters mentions the film at one point.
Directed by Michael Longhurst and Ann Yee, The Human Body leans in to its film ties and takes a very cinematic approach, with camera operators coming on to the stage and the live footage being projected in black and white on the rear wall (though no Lloyd Webber songs are being sung from the street outside).
It looks impressive and feels like you’re genuinely watching a Sunday afternoon movie, while being able to glance slightly down and see the real thing. It’s a bit like going behind the scenes, with film set style lighting illuminating the action.
What seals the deal though is Ben and Max Ringham’s incredible music, which sounds like it’s been lifted directly from a Hitchcock thriller. There’s very little in the way of set and props but in Fly Davis’ design everything, down to the matchsticks, is painted NHS blue.
There seems to be an endless amount of characters, but they are all played by just three actors, often in several consecutive scenes. Despite a valiant effort from Tom Goodman-Hill, Pearl Mackie and Siobhán Redmond, it becomes a distraction to the story, and unless someone explicitly says the character name, it can be all but impossible to decipher who’s saying what.
There’s no multi-rolling for the central characters. Jack Davenport is sublimely suave, sophisticated, and a touch vulnerable as George, while Keeley Hawes gives a tour-de-force performance as the ambitious, but socially conscious Iris.
Lucy Kirkwood’s script does wander off in odd directions sometimes, but The Human Body does manage to tell two different stories with great sensitivity, there are also some cracking comedic one-liners sprinkled throughout.
The golden age of cinema meets theatre in this thoroughly enjoyable play. Much like the modern day health service, there are elements of The Human Body that needs some treatment, but in the end, we’re all willing it on because we can see it has value.
The Human Body is at Donmar Warehouse until 13th April 2024
