From Stage to Screen: Allelujah! – Bridge Theatre

Allelujah - Bridge Theatre

70 years ago, the NHS came into being, and not too long after that the first medical dramas followed. The history of our free health service and the history of television almost go hand-in-hand. Medical soaps and dramas dominated the schedules for decades, until arguable crime replaced them as our favourite genre. A particular affinity with the screen, early examples like Doctor Kildare, General Hospital and Dr Finlay’s Case Book evolved into much-loved American dramas like ER and Grey’s Anatomy, as well as the invincible long-running shows Casualty, Doctors and Doc Martin – the world of doctors, nurses and patients is ever ripe for dramatic interpretation.

But that’s only the tip of the medical iceberg; during the lifespan of the NHS, a plethora of documentary series from 24 hours in A&E to Embarrassing Bodies have given us plenty of fly-on-the-wall access and real-life insight. Meanwhile film has also used the hospital as its location many times, and long before more recent American examples including Extreme Measures and Parkland, British movie depictions started with the gentle humour of Doctor in the House and its ensuing sequels, and the cheeky naughtiness of numerous Carry Ons (Nurse, Doctor, Again Doctor and Matron). Popular culture has, then, long reflected the intensity, silliness and political deprivation that has blighted the development of our free health service in the last 70 years.

Theatre though has paid relatively little regard to the medical services, and despite Nina Raine’s Tiger Country, last revived at the Hampstead Theatre in 2014, and The Globe’s Doctor Scroggy’s War set during the 1914-1918 conflict, few plays have used the hospital or doctor’s surgery as their primary focus. The doctor as a character turns-up all over the place, from Agatha Christie suspects to Patrick Marber lovers (in Closer), but their own environment has been strangely neglected by playmakers. So the duel promise of a new NHS-based play written by Alan Bennett – his first in six years – is interesting for many reasons, not least that it will receive its very own cinema transfer on 1 November, a medium that given the screen history of the NHS, may change our perception of the production.

Bennett is easily the biggest name to premiere a play during the Bridge Theatre’s first year of operation. Set in a tradition “cradle to grave” hospital, Allelujah! has quite a broad remit, tackling issues of individual patient care, hospital management, the closure and integration of smaller facilities and the politically sensitive cuts advocated by central Government. Bennett’s writing touches on so many issues that, understandably, his narrative frame becomes rather over-stretched so the forces that compel the core story become a little contorted.

But to what extent is this the consequence of its theatrical form, a place where conventions of drama create certain structural preconceptions about story and character? Seeing Bennett’s medical story on a screen may lend it an entirely new face, where the broad episodic structure of the writing and its impassioned personal versus the political plot may seem more at home among the serialised medical dramas seen every week on screen. Our leading playwrights are just as likely to be seen penning screen-dramas and forthcoming attractions include Mike Bartlett’s 6-part series Press in September set in a news agency and James Graham’s Brexit drama next spring. With so much crossover between stage and screen, seeing Bennett’s latest play in a specifically-commissioned cinema presentation after the run has officially ended feels like a logic step.

Facing closure, The Beth hospital remains a haven for geriatric patients who form a choir to liven-up their stay. When the father of a political aide is admitted, he cycles to the hospital to visit him one last time despite their estrangement. Unbeknown to the staff, Colin is responsible for the policy that will lead to the merger, and when a documentary crew arrive to film a fly-on-the-wall series everyone tries to be on their best behaviour. But with the lives of vulnerable patients in their hands, not all of the hospital staff are quite what they seem.

The three strands of Bennett’s play attempt to shine a broad comic light on our current health provision while making a rallying cry for its future protection. First, it examines the mixed approach to healthcare for the elderly and the value we place on long life versus quality of life, which is one of the most successful themes Bennett explores in Allelujah! Although some critics found the musical sequences a little jarring and designated too much room in an otherwise packed 2.5 hours of theatre, there is merit in them, reflecting the community spirit that smaller hospitals can generate and serving as a timely reminder that mentally, if not physically, these characters have rich emotional lives connecting them directly, through song, to the memories and emotions of their youth.

It is hardly a coincidence that La La Land has reinvigorated the fantasy song and dance sequence on screen, so Bennett draws on this to take his characters away from the mundane and beleaguered into an alternate reality and happier times. And, by limiting the major set-pieces, like La La Land, Bennett actively juxtaposes the everyday with the grand romance of the musical. In between the showcase numbers, many of the film’s scenes show Mia and Sebastian’s relationship played out in ordinary locations by two ordinary people looking for a break. If it’s good enough for Damien Chazelle, it’s good enough for Alan Bennett, and Allelujah! puts its choir in a bubble that separates them briefly from the reality of ill health and old age. These sequences, choreographed by Arlene Phillips, should make even more of an impact in a cinema where audiences are more used to the stylistic movie techniques and allusions that Bennett employs.

The second strand is a political one in which the controversial march of progress is measured against its personal impact. The depersonalisation of NHS services, the drive for efficiency savings, targets and reduction of overheads affects debate about the success of our current healthcare structure, with Whitehall notably divorced from the reality of caring for the sick. Bennett uses political aide Colin (Samuel Barnett) as a cipher for London, modernity and centrist control that ranks statistical success above the people being cared for.

Joe – a former miner – easily becomes one of Allelujah!’s most sympathetic characters, a kind and engaging creation whose complex relationship with his son, and fond memories of dancing in his youth which he recreates with Sister Gilchrist are played with considerable pathos. There is a really interesting dynamic between Joe (Jeff Rawle) and his son (Samuel Barnett) as their bedside meetings result in loaded silences and strained conversation, belying the genuine affection that they have for one another, and speaking volumes about the conventions of masculinity and pride that prevent a reconciliation. Bennett offers small hints at their background, at the local versus metropolitan world view that has driven them apart, but it’s an area that is frustratingly under-explored as the core drama evolves away from their meaningful interaction.

Bennett’s writing has always been at its best when showing the intimate contradictions of human relationships and personalities that can come across so well in screen close-ups. Comic on the surface and desperately sad or lonely underneath, this complicated connection between father and son should have been the main thrust of the story, driving the dramatic narrative with Joe becoming slowly more unwell as Colin’s merger policy takes effect, uniting the personal and the political in the way Bennett intends. Both actors suggest much of this, but the space to develop is reduced by Allelujah!’s third, and theatrically least successful, strand.

To prevent spoilers its impossible to describe this section as its occurrence is sudden and deliberately surprising, but it drags the show away from its original purpose, muddies the narrative and sets-up a central inconsistency just before the interval that is never satisfactorily resolved. Yet, this section will almost certainly play better on screen where the melodrama and overly-contrived nature of the storyline will have more in common with the commonplace life and death-jeopardy scenarios of most televised medical drama. In the kind of theatre that Bennett creates this feels more out of place than any amount of nostalgic musical sequences can ever do, leaving you unsure whether Bennett is campaigning to save smaller hospitals or revealing the abuse of power they facilitate.

Allelujah! may not be Bennett’s finest play but it has a lot going for it, not least the creation of a suite of characters that you want to know more about – it’s just a shame you never really do. From Gwen Taylor’s bolshie Lucille to Simon Williams’s Ambrose as a former English teacher reduce by age to Patricia England as Mavis the eccentric showgirl still determined to be beautiful. So many potentially fascinating lives are offered-up but never given a proper chance to link their wonderful backstories to the modern day in the way that, say, Follies managed so extraordinarily this year.

The 1 November cinema screening, steeped in the history of medical dramas, will be kinder to Bennett’s set-up than perhaps the theatre space has been. Large cast, multi-strand narratives with pacey incident-based drama and short scenes are the bread and butter of screen depictions of healthcare, so Allelujah! fits more completely into this genre than perhaps the different demands of the stage. As theatre, although it has plenty of potential and all the elements we’ve come to expect from a Bennett play, this needed to be more streamlined. Despite a productive partnership with Nicholas Hytner, the Artistic Director hasn’t taken a firm enough line with the work – arguably true of all of Bennett’s plays since The History Boys. Sometimes, even a national treasure needs an edit.

The overly dramatic final act, driven by plot twists, just distract from the people at the heart of the play, the patients, visitors and staff of The Beth hospital, and serves to dampen Bennett’s scathing political comment on the failure of the NHS to serve its community. With such an incredible cast of famous faces including the wonderful Deborah Findlay as Sister Gilchrist – a key role – Sasha Dhawan as a newly arrived immigrant doctor on a student visa and Peter Forbes (the Follies connection) as a slick hospital manager, it seems a shame to have underused them all so cruelly – there are lots of half-ideas that never quite make a whole.

Screening Allelujah! may well alter the viewer’s perspective, placing it within the tradition of television and film drama that lends itself to the cliffhanger-based six-part series that Bennett’s broad and episodic approach calls upon. Audiences love Bennett’s warm wit, comic parody and relatable characterisation, full of stoic people in difficult scenarios that can be incredibly moving. It may be diluted in the enormous Bridge auditorium but will the proximity of cameras offer cinema-goers a unique perspective? 1 November 2018 – make an appointment.

Allelujah! is at the Bridge Theatre until 29 September and will be screened as-live in cinemas on 1 November. Follow this blog on Twitter @culturalcap1.

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About Maryam Philpott

This blog takes a more discursive and in-depth approach to reviewing a range of cultural activities in London, primarily covering theatre, but also exhibitions and film events. Since 2014, I have written for The Reviews Hub as part of the London theatre critic team, professionally reviewing over 400 shows. The Reviews Hub was established in 2007 to review all forms of professional theatre nationwide including Fringe and West End. My background is in social and cultural history and I published a book entitled Air and Sea Power in World War One which examines the experience of the Royal Flying Corps and the Royal Navy. View all posts by Maryam Philpott

6 responses to “From Stage to Screen: Allelujah! – Bridge Theatre

  • JohnA

    Hi Maryam

    Thanks for this. Once again I look to your extended review for reasons to put a play on my ‘to see’ list or confirm my tentative decision to give it a miss. It looks like it will be the latter. I’m no a fan of musicals at the best of times and, while my enjoyment of Young Frankenstein bucked the trend, Miss Littlewood has since reinforced my bias against the format, especially for serious subjects.

    I found your comparison of screen v stage treatments of the general subject intriguing – and you might be on to something. You don’t mention The Singing Detective but I wondered why I’m more tolerant of the characters bursting into song (often in hospital) in that than I would normally be at the theatre. Maybe I’m just a snob who has lower expectations of TV! Stella Feehily’s This May Hurt a Bit is an example of a stage play with the NHS at its heart and it might have a good deal in common with Allelujah! in that when I saw it in Liverpool (Out of Joint toured with the production but it had only a short London run at St James’s Theatre) it struck me as rather fragmentary and unsure of what it was trying to do. Interestingly, Stephanie Cole as a gloriously bolshie older woman (when does she ever play anything else?) made me nostalgic for Diana Trent of the BBC’s Waiting for God. Finally the great ‘hospital’ play (albeit a private hospital) is, in my opinion, Joe Orton’s What the Butler Saw. And, while the script is absolutely brilliant, that play is notoriously hard to get right on stage (I’ve still never seen a live production that comes near the TV adaptation with Dinsdale Landen, Prunella Scales and Timothy West). Is the cinema Allelujah! along NT Live lines or is it adapted for the camera, do you know? Nov 1 is well beyond the end of the run at the Bridge so I’m guessing it’s a special performance.

    I left a short comment under your review of Greek on TRH. I was a bit gutted to miss that as I think both Turnage and Berkoff are very good on their day. I’ve booked for The Silver Tassie at the Barbican on Nov 10 (row G, £12 – which is a bit of a bargain considering ‘restricted view’ is unlikely to be a disadvantage. I’m pretty sure there won’t be much staging in the Barbican Hall). I’m not sure whether to recommend this concert performance if your chief interest is in the theatrical side. But, as I suggested on TRH, opportunities to hear this fine work live are few and far between – and there may not be that many more chances to hear the legendary John Tomlinson.

    • Maryam Philpott

      Hi John

      Thanks for this and for providing a few more hospital-based play references that we can look out for – so many interesting points and references to notable performances that adds more context.

      I’m glad you found the approach interesting. The critical and audience response has been incredibly varied, and it made me question my own so-so experience. When I heard there would be a pre-filmed screening I wondered how that would change the way we see it and the approach Bennett has taken. I was trying to challenge myself to see it from another angel instead of writing another straight review.

      It is a shame you’ll miss Greek, but it might appear in another venue soon. I’m not sure about The Silver Tassie, I saw the National Theatre’s revival of the play a few years ago, which, even for someone who studied the First World War, was interminable! I’ll take a look though.

  • JohnA

    “I’m not sure about The Silver Tassie”

    I can understand your hesitancy. The NT production probably seemed longer than it was (my programme says 140m but the play certainly doesn’t have the pace of ‘Juno…’ or ‘The Plough…’) but I don’t think the concert performance of the opera will be any shorter. I’m going with some old friends, one of whom was at the Coliseum with me for the premiere run, and we have the distinct advantage of knowing we’ll love the music – especially with the voices of Tomlinson, Susan Bickley, Sally Matthews et al. I don’t know enough about your musical taste to recommend it wholeheartedly; but with £12 tickets still available at least the biggest expense, should you choose to leave at the interval, will be the opportunity cost of whatever else you might have chosen for that Saturday evening. One thing I can recommend, for the dramatic impact alone, is the forthcoming revival of Keith Warner’s Der Ring des Nibelungen at the ROH. Wagner himself considered the drama more important than the music (though, of course, the whole point was the blending into a ‘Gesamtkunstwerk’) and I think this tetralogy is possibly the greatest stage work of modern times. It’s sold out, of course, but there will be returns, day seats and the ‘Friday Rush’. I’d go myself but can’t really justify the expense for a production I’ve seen before. I might still try for Götterdämmerung just to see the superb Nina Stemme as Brünnhilde.

    Back to Allelujah! I forgot to say how odd it seemed to me that David Hare hasn’t, to the best of my knowledge, written a NHS play. It seems to me his trilogy of Racing Demon (CofE), Murmuring Judges (Judiciary) and The Absence of War (Labour Party/legislature) could have been usefully expanded with the addition of a play about another institution widely considered central to British life.

    • Maryam Philpott

      Hi John

      Thanks for all of this, I’ll certainly look into it, although I don’t get on quite so well with opera as theatre. It’s interesting to look at ways to make arts more accessible – which is why I found the approach and setting of Greek so interesting. The £12 seats you mention also help bring new audiences to shows and hopefully break-down some of the perceived barriers.

      Perhaps a David Hare NHS play will appear soon, now you’ve put the idea out there. It’s probably a natural progression for our political writers interested in institutions and societal power, once the current madness of Brexit dies down.

  • JohnA

    Well, according to the NT website, the protagonist of I’m not Running “has spent her life as a doctor, the inspiring leader of a local health campaign” but how central this is to the plot I won’t know until 6 Oct when I’ve seen my late(ish) preview. I expect we’ll discuss it some time after that.

    • Maryam Philpott

      Hi John – indeed! The synopsis looks very political so it will be interesting to see whether this becomes another show in which a doctor is a key character without being seen to attend patients. Time will tell.

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