A Child of Science (NHB Modern Plays) (eBook)

Gareth Farr (Autor)

eBook Download: EPUB

2024 | 1. Auflage
120 Seiten
Nick Hern Books (Verlag)
978-1-78850-767-7 (ISBN)

Infos

'One day this will work. One day we will gift two honest, decent, trusting volunteers a baby. I know this more than anything else in the world. I know it in my soul. We will do that.' In 1978, three pioneering doctors changed the world of fertility as we know it. Supported by an army of immensely brave women from all over the UK, Patrick Steptoe, Robert Edwards and Jean Purdy achieved the impossible: they created human life in vitro. Faced with fierce criticism and hostility, and hounded by the media for 'playing God', trials had to be kept largely under wraps. But the trio's determination to give hope to the thousands of families struggling to conceive eventually led to the first 'test-tube baby' and the creation of IVF, a procedure which has since supported the birth of over twelve million babies worldwide. Gareth Farr's play A Child of Science is a fictionalised account of this true story of ambition and courage, based on extensive research and interviews with embryologists and fertility doctors, as well as those affected by and enabled by IVF. It was first performed at Bristol Old Vic in 2024, directed by Matthew Dunster.

Gareth Farr is an actor and writer. His plays include: A Child of Science (Bristol Old Vic, 2024); Biscuits for Breakfast (Hampstead Downstairs, 2023); The Quiet House (Birmingham Rep & Park Theatre, London, 2016); and Britannia Waves the Rules (Royal Exchange Theatre, Manchester, 2014 and tour; winner of a Judges' Award at the 2011 Bruntwood Prize for Playwriting; Sydney Fringe Festival). As an actor he has worked with the RSC, Young Vic, West End, Royal Court, West Yorkshire Playhouse and Sheffield Theatres, and has had numerous television roles on programmes including Misfits, Skins and Vera.

Textauszug

Somewhere in the space a woman screams. It is excruciating.

Scene One – The Butcher

St George’s Hospital London (1958).

A chaotic hospital scene. DEBORAH ATKINSON has blood all over her gown, legs and face. She is in extraordinary pain. She convulses and contorts and screams. It is grotesque and violent. Two nurses work hard to provide comfort. PATRICK STEPTOE is also working hard to comfort her but without success. DEBORAH enters a new wave of pain. NURSE 1 tries to restrain her.

PATRICK. Do not hold her down. Do not restrain her. Hello. My name is Patrick. Can you hear me?

DEBORAH screams.

I am here to help you. If you can hear me can you… can you tell me your – (To NURSE 1.) Do we know her name?

The NURSES don’t respond.

Her name. What is this patient’s first name?

NURSE 1. I’m sorry, Doctor Steptoe, I don’t know.

DEBORAH screams and contorts.

PATRICK. Can we find out her first name please?

NURSE 2. Shouldn’t we sedate her?

PATRICK. If one of you could please determine her name and one of you please prepare the sedative that would be excellent.

DEBORAH screams.

Now, please.

NURSE 1 and NURSE 2 jump into action.

NURSE 1. Of course.

PATRICK. Thank you.

NURSE 1 exits. DEBORAH continues to contort and writhe in pain.

PATRICK (to DEBORAH). I am a doctor. We are going to help you. I know that you are in pain. I know that you are suffering terrible discomfort, but I am going to help you. Can you hear me? Can you see me? I am going to inject you now and after the injection you are going to feel much better. You are going to be much more comfortable very soon.

NURSE 2 hands PATRICK a needle. DEBORAH sees the needle and reacts.

NURSE 2. Shall I hold her down, now?

PATRICK. No.

Finally, PATRICK manages to sedate her. Over time her breathing settles, she gradually becomes comfortable and calm.

There you go. That’s better. (To NURSE 2.) Swab, please.

NURSE 2 hands him a swab. PATRICK holds it to DEBORAH’s mouth to stop the flow of blood. He cradles her head as he does so. It is an image of care and tenderness.

NURSE 1 re-enters.

NURSE 1. Deborah. Her name is Deborah Atkinson.

PATRICK. Thank you, nurse. Anything else?

NURSE 1. No. I didn’t… do you want her middle name as well?

PATRICK. No. I don’t want her middle name, no. Do we know what on earth happened to Deborah this evening?

NURSE 1. She was brought in by a man.

PATRICK. A man?

NURSE 1. Yeah.

PATRICK. What man?

NURSE 2. He’s not here. He dropped her outside and ran off.

PATRICK. Lovely. Do we know her age?

NURSE 1. No. Eighteen I’d say, round about that.

PATRICK. Family? Somebody must be connected to her.

NURSE 2. I’ll put her name on the board and give instructions to all staff in case anyone calls with a missing person enquiry.

PATRICK. Very good, and can we arrange for a clean gown and a bed bath for Deborah please?

NURSE 2. Certainly.

PATRICK. And a bed in a quiet area of the ward.

NURSE 1. We don’t get to choose which bed –

PATRICK. Please.

NURSE 1. It’s Sister Matthews who decides –

PATRICK. Then explain to Sister Matthews that our patient is suffering from chronic and aggressive seizures. Tell Sister Matthews that we are to expect constant disturbance from this patient and that she has already bitten off a large section of her own tongue due to, what I believe, is a reaction to sepsis or tetanus. She has been severely mistreated, and it is our job to care for her in the best way possible. Personally, I would recommend a private room but as they are reserved for a different class of patient, I would strongly advise the calmest, quietest, most peaceful bed that this hospital can offer. May we do that?

NURSE 1. Yes, Doctor Steptoe.

NURSE 1 exits.

Pause. Stillness.

NURSE 2. He’s a butcher.

PATRICK. Who is?

NURSE 2. The man that dropped her off.

PATRICK. A butcher?

NURSE 2. Yeah.

PATRICK. How do you know that?

NURSE 2. I saw him… I know… I knew him once. A long time ago.

PATRICK. I see. I see. A butcher?

NURSE 2. Yes.

Beat

PATRICK. And where does this butcher live?

NURSE 2. –

PATRICK. Where is his butcher’s shop?

NURSE 2. –

PATRICK. I’m sorry I don’t know your name.

NURSE 2 grows increasingly nervous at his questions.

Please tell me your name so that I can talk to you properly.

NURSE 2. Elizabeth. Betty.

PATRICK. It’s nice to meet you, Betty. You are a very capable nurse.

NURSE 2. Thank you.

PATRICK. And why did you become a nurse, Betty?

NURSE 2. Why does anybody become a nurse? To help people.

PATRICK. Not everybody enters medicine for the same reasons. Yours is a good one.

NURSE 2. My mum’s a nurse, she used to tell us stories that would make my sister cry. Stories about patients and stuff. I didn’t cry. I wanted to know more. I just wanted to help them. I wanted to know that they were okay. She works here too… my mum… she still works here, so…

PATRICK. I see. She won’t find out that we have spoken, Betty.

NURSE 2. He’s a good man.

PATRICK. Is he?

NURSE 2. He only works on good girls. He doesn’t charge them or nothing.

PATRICK. Then Deborah Atkinson is a good girl.

NURSE 2. I suppose.

PATRICK. She must be. This is not her fault and to ensure that other young, vulnerable ‘good girls’ do not end up in a similar position, it is vital that you tell me who this butcher is. Please, Betty, before anybody walks in.

NURSE 2. Will he go to prison?

PATRICK. I don’t know.

She looks at him.

Very likely, yes.

NURSE 2. I can’t.

PATRICK. Betty, someone is going to die because this man is conducting illegal abortions. He is doing it without the correct equipment or care. We don’t have much time, please, please just tell me what part of London he works in.

Before she can change her mind, NURSE 2 speaks.

NURSE 2. Finsbury Park.

PATRICK. Very good. Thank you, Betty. You did a very good thing. Now, can we chase up that clean gown for Deborah please? I’m going to stitch her tongue and I’d like to have her clean and comfortable by the time she comes round.

NURSE 2. Of course.

Before she goes.

You’re not like all the others, Doctor Steptoe.

PATRICK. Is that so?

NURSE 2. Yeah. The others would have shouted at me and threatened to sack me if I didn’t tell them.

PATRICK. Would that have made a difference?

NURSE 2. Yes.

PATRICK. How? You’d have still told them – sooner, I’d imagine.

NURSE 2. But I’d have sent word to the butcher to leg it before the police arrived. They’d never have found him.

PATRICK. And now?

NURSE 2. And now I’m going to keep my gob shut.

PATRICK. Very good.

NURSE 2. I’ll get that gown.

Scene Two – The Mouse House

Edinburgh University (1958).

A cluttered laboratory, full of equipment and books and shelves – BOB EDWARDS is peering through a microscope. He is incredibly still – so still that he blends into the furniture, so still that we might not see him to begin with. RUTH FOWLER enters, she collects her coat. She doesn’t see BOB. Without looking up, BOB speaks.

BOB. Goodnight, Ruth.

RUTH screams and jumps out of her skin. BOB doesn’t move.

RUTH. Bob?! Jesus, Bob. What on earth are you doing?

BOB doesn’t reply.

For Christ’s sake, Bob, you scared me half to death. You shouldn’t do that.

BOB. I’m sorry. I just wanted to say goodnight. Sorry.

RUTH. It’s fine. It’s fine. I’ll get over it in a couple of days.

RUTH catches her breath.

It’s late.

BOB. Is it?

RUTH. Yes. We’re all going for a drink. It’s my birthday, actually. Would you…?

BOB looks up.

BOB. Happy birthday, Ruth.

RUTH. You should come too. Just a couple of drinks, nothing too wild.

BOB. No.

RUTH. Okay.

BOB. Thank you.

RUTH. Fine. No big deal. It’s completely fine.

BOB. I’m busy.

RUTH. Of course. Yes. I can see.

Beat.

It’s half past nine, Bob.

BOB. I’m going to stay. I’m not being… it’s… I’m just busy. Have a good birthday. I hope you have a nice time.

RUTH. Right. Well, I’ll leave you to it. Just you and forty thousand mice then.

BOB. Indeed.

RUTH. I’ll see you tomorrow, Bob.

BOB. Goodnight, Ruth.

RUTH leaves. BOB continues to look.

...

Produkt-Details

• Erscheint lt. Verlag: 13.6.2024
• Verlagsort: London
• Sprache: englisch
• Themenwelt: Literatur ► Lyrik / Dramatik ► Dramatik / Theater
• Schlagworte: bristol old vic • Drama • modern drama • PLAYS • Theatre
• ISBN-10: 1-78850-767-3 / 1788507673
• ISBN-13: 978-1-78850-767-7 / 9781788507677