Dr Semmelweis

From a strong idea about how some scientist’s discoveries are overlooked or forgotten, and never given the prestige they justly deserve, this play has been evolved. Conceived by Mark Rylance and working with fellow writer Stephen Brown and director Tom Morris this was originally staged at Bristol Old Vic to much acclaim. Dr Semmelweis now gets a limited, but much anticipated run in the West End.

It is wonderful to see Mark Rylance back on stage, and his performance as always is mesmerising, if not as dynamic and memorable as previous characters he has portrayed, he undoubtedly grabs the attention. Which is a huge credit to him as the character of Dr Ignaz Semmelweis is somewhat withdrawn and obsessive and far from dynamic. Which is where this play begins to lack its impact. It is difficult to have such a withdrawn man as the protagonist, especially when the whole point is that his breakthrough discovery concerning hygiene and bacteria in hospitals of the late 1900’s goes unrecognised in History. This is in no way decrying the skills as an actor of Rylance, or the original idea, but that the production that has grown up around this initial idea has become overburdened.

To describe the inner torment of Semmelweis, and his desperation to stop the seemingly unfathomable deaths of women in childbirth, interpretive dance and ballet choreographed by Antonia Franceschi has been incorporated. Then to accompany them and underscore the production there is the Salome Quartet. It is understandable how the choice having so many female figures on stage haunting his every thought represents the untimely deaths, but it crowds and at times swamps the action.

It is also wonderful to see Pauline McClynn as the matron he relies upon to help him delve into the possible cause. She brings the humour and friendship that Semmelweis needs to keep him going and does a similar thing with the structure of the play. With other antagonistic characters less well crafted, although acted well, it leaves Semmelweis battling more with himself than the institutions and medical science, and as a result lacking in dramatic conflict.

Visually Richard Howell’s lighting and Ti Green’s staging fit perfectly with the surroundings of the intimate Harold Pinter and add much to the visual storytelling. The lattice dome above the stage casting spider’s web like shadows was extremely effective.

This is a play that frustrates as much as it enthrals, and it begs the question would it have had this West End transfer all if it wasn’t for the acting talents and persistence of Rylance.