Review: Tiger Country
Hospital life is eloquently examined in this new play
By Nina Raine
Hampstead Theatre, Swiss Cottage
TIGER Country: no safety net, alone, trusting your instincts. According to Nina Raine’s new play at the Hampstead Theatre, this is terrain familiar to the NHS surgeon, ‘Once you open the skin you’re on your own.’
Raine’s play – which she directs herself – is a high-octane, unflinching fly-on-the-wall examination of life in Accident and Emergency. We meet Emily – a fresh-faced new arrival on the hospital’s staff: through her eyes we see the chaos, the maddening bureaucracy, the trauma and the apparent cold-heartedness of her colleagues. We meet patients and doctors – and in an effective bit of doubling, the same actors take characters on both sides of the clipboard. Raine draws us into one patient’s story and then wheels them off, just as we began to feel for them – mirroring the situation doctors face every day. We learn about the private woes and worries of the surgeons and all the while the NHS is hanging by a thread in the background.
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Emily, played by Ruth Everett is the na�ve new arrival: one registrar realises instantly she’s new because she’s ‘still worrying about people dying’. Everett minutely copies the mannerisms, the tone of voice, the slightly desperate frown of the newly qualified medical student. She is over-eager to please and petrified of making a mistake. More importantly for this drama, she cares and feels each case in a way which is clearly unsustainable.
Vashti is Emily’s polar opposite. In Thusitha Jayasundera’s hands she is hard-nosed and up-tight but not unlikeable. She has worked hard to get to where she is and had to reshape everything about herself along the way: her accent, her clothes, and, one suspects, her personality. Hers is the most fascinating story in the play and Jayasundera’s is one of the stand-out performances.
Her counter-part is John, played by a brisk Adam James, who gives a brilliantly realistic portrayal of an experienced, professional registrar: even when exhausted and at breaking point, he carries on. There is good work from Pip Carter as surgeon Mark, and Joan Kempson as senior nurse, Olga, quietly steals a couple of scenes.
Raine’s dialogue is sharp and – clearly – a joy to speak. Some of the monologues fizz with barely contained outrage, though it perhaps feels like we’re hearing the playwright’s thoughts rather than the character’s. Although informed and influenced by TV hospital dramas like Green Wing, Scrubs, House and Casualty, (and the inevitable plot echoes), Tiger Country manages to be more than simply a hospital TV series for stage. The play examines what it means to care: whether we can care about each other, whether a doctor can care for a patient they hardly know or even one they have never met and whether caring matters. This is a vital play, born of its time: the future of the NHS is being much debated and this is an eloquent voice to add to the mix.