Tiger Country

Nina Raine's play rigorously examines a host of doctors' dilemmas.

With:
Emily Ruth Everett Vashti Thusitha Jayasundera John Adam James Mark Pip Carter James Henry Lloyd-Hughes Brian Nicolas Tennant Rebecca Sharon Duncan-Brewster Lakshmi, Bindu Harvey Virdi

Doors burst open, monitors bleep, people yell for assistance, beds are raced into position and, criss-crossing the wide-open stage, actors narrowly avoid crashing into one other. The superbly choreographed opening ensemble rush of “Tiger Country” so convincingly captures the urgency of hospital life that everything that follows has the zing of authenticity. The same length as a couple of episodes of your favorite medicated soap but with considerably more depth, Nina Raine’s play rigorously examines a host of doctors’ dilemmas.

There are almost as many linked themes as there are characters, and with almost all the actors doubling, that’s a lot.

In the midst of it all, Raine deploys the standard expository device of having a newcomer entering the world of the play. Mercifully, however, junior doctor Emily (Ruth Everett) is almost never saddled with typically naive questions asked solely so that audiences can be filled in. Indeed, it only gradually becomes clear that hers is the play’s through-line.

Surrounding her are Thusitha Jayasundera as short-fused Vashti. A female surgeon looking for promotion in the National Health Service hospital, Vashti struggles with arrogant male juniors, notably Pip Carter’s arrogant Mark.

On Vashti’s level is cardiologist John (enjoyably exasperated but kindly Adam James) who is in denial about a growth on his neck. There are also careerist consultants, long-suffering and surly nurses, even an assortment of patients.

Appropriately enough for a play set partly in an operating theater, Raine knows exactly where and when to cut. Unnecessary preamble is ruthlessly excised in favour of punchy juxtapositions of tightly written scenes. She’s intent on depicting the diverse pressures of a non-stop, often sleepless, emergency room existence where doctors are not allowed to make mistakes. The sheer pace is startlingly impressive.

On Lizzie Clachan’s effective set, given life by Fergus O’Hare’s soundscape, Rick Fisher’s isolating pools of baleful, institutional light and Dick Straker’s video splashes of surgical procedures, even the scene changes – run by the cast – embody hospital life. Indeed, for the first half, the dynamism of Raine’s own production appears stronger than the thrust of her writing. Yet the payoffs of the more dramatically sustained second half prove exactly how much groundwork she has quietly been laying.

Although we see exhaustion and hierarchical tension sour the relationship between Emily and her more senior doctor boyfriend (Henry Lloyd-Hughes), Raine refuses to go down the standard soap route of pushing sex lives to the fore. “Gray’s Anatomy” it ain’t.

From “Dr. Kildare” to the BBC’s “Casualty” – 24 years and counting – medicated soaps have never been in short supply, largely because they literally present life and death dramas. But TV, by its very nature, goes for the closeup – the tears and forbearance of, say, a patient being given a fatal diagnosis.

But Raine eschews heartwarming resolutions to such a crisis and instead constantly pulls back to the equivalent of wideshot to present the doctors’ perspective as they deal with the need for and impossibility of perfectionism, the corrosive management systems, the ever-present sexism, the danger of resources squeezed to breaking point.

Coming three months after her Royal Court hit “Tribes,” Raine’s third play might be too specifically British – and big – to have immediate stateside success, but it proves her to be well and truly on the map.

Tiger Country

Hampstead Theater, London; 310 seats; £29 top

Production: A Hampstead Theater in association with Alcove Entertainment presentation of a play in two acts written and directed by Nina Raine.

Creative: Sets and costumes, Lizzie Clachan; lighting, Rick Fisher; sound, Fergus O'Hare; video, Dick Straker; production stage manage, Laura Flowers. Opened, reviewed, Jan. 19, 2011. Running time: 2 HOURS, 15 MIN.

Cast: Emily Ruth Everett Vashti Thusitha Jayasundera John Adam James Mark Pip Carter James Henry Lloyd-Hughes Brian Nicolas Tennant Rebecca Sharon Duncan-Brewster Lakshmi, Bindu Harvey VirdiWith: David Cann, Tricia Kelly, Joan Kempson and Hannah Banister, Nason Crone, Naomi Heffernan, Kevin Kamara

More Legit

  • Marilyn Stasio's 10 Best New York

    10 Best New York Theater Productions of 2017

    Doors burst open, monitors bleep, people yell for assistance, beds are raced into position and, criss-crossing the wide-open stage, actors narrowly avoid crashing into one other. The superbly choreographed opening ensemble rush of “Tiger Country” so convincingly captures the urgency of hospital life that everything that follows has the zing of authenticity. The same length […]

  • Adam Driver

    Adam Driver to Star in 'Burn This' on Broadway

    Doors burst open, monitors bleep, people yell for assistance, beds are raced into position and, criss-crossing the wide-open stage, actors narrowly avoid crashing into one other. The superbly choreographed opening ensemble rush of “Tiger Country” so convincingly captures the urgency of hospital life that everything that follows has the zing of authenticity. The same length […]

  • The Twilight Zone review

    London Theater Review: 'The Twilight Zone'

    Doors burst open, monitors bleep, people yell for assistance, beds are raced into position and, criss-crossing the wide-open stage, actors narrowly avoid crashing into one other. The superbly choreographed opening ensemble rush of “Tiger Country” so convincingly captures the urgency of hospital life that everything that follows has the zing of authenticity. The same length […]

  • HadestownNew York Theatre WorkshopBy Anaïs MitchellDeveloped

    Streaming to Broadway: How New Titles, Talent Grow Buzz Online

    Doors burst open, monitors bleep, people yell for assistance, beds are raced into position and, criss-crossing the wide-open stage, actors narrowly avoid crashing into one other. The superbly choreographed opening ensemble rush of “Tiger Country” so convincingly captures the urgency of hospital life that everything that follows has the zing of authenticity. The same length […]

  • Chrissy Metz

    Chrissy Metz to Star in Neil LaBute's 'Fat Pig' at Geffen Playhouse

    Doors burst open, monitors bleep, people yell for assistance, beds are raced into position and, criss-crossing the wide-open stage, actors narrowly avoid crashing into one other. The superbly choreographed opening ensemble rush of “Tiger Country” so convincingly captures the urgency of hospital life that everything that follows has the zing of authenticity. The same length […]

  • 'Death Becomes Her' Musical in Development

    'Death Becomes Her' Musical in Development for Kristin Chenoweth

    Doors burst open, monitors bleep, people yell for assistance, beds are raced into position and, criss-crossing the wide-open stage, actors narrowly avoid crashing into one other. The superbly choreographed opening ensemble rush of “Tiger Country” so convincingly captures the urgency of hospital life that everything that follows has the zing of authenticity. The same length […]

  • Stagecraft podcast John Leguizamo

    Stagecraft Podcast: John Leguizamo Says He's a 'True Ghetto Nerd'

    Doors burst open, monitors bleep, people yell for assistance, beds are raced into position and, criss-crossing the wide-open stage, actors narrowly avoid crashing into one other. The superbly choreographed opening ensemble rush of “Tiger Country” so convincingly captures the urgency of hospital life that everything that follows has the zing of authenticity. The same length […]

More From Our Brands

Access exclusive content