“Better three hours too soon than a minute too late.” – William Shakespeare
I made my way into the theatre a little earlier that I usually would and took my seat at the front. The curtain opened on the figure of a man sleeping on the floor of his office. A further few minutes before the real “curtain up” was due, a siren sounded, waking up the sleeping Galvin, and he started slowly moving about, getting ready for the day ahead. Removing his old shirt and throwing it into his filing cabinet and taking a fresh shirt off the radiator he proceeds to re-enter the living world - starting the day as he ended the night before…with a glass of whiskey!
This subtle scene, which set the tone for Galvin’s character, was lost by many of the people sitting near me as they sat chatting with their friends, oblivious as to what was happening on the stage. As the lights in the auditorium were dimmed, a quiet hush took hold as we heard a sound-over of a hospital emergency room issuing a “Code Blue” and the sounds of CPR being performed.
“Angel of God, my guardian dear, to whom God’s love commits me here…” The Guardian Angel Prayer
Cut back to Galvin’s office and the entrance of his client’s mother, Mrs McDaid. She is happy to reach an out of court settlement, she just needs some money to ensure her daughter gets the best medical care possible, and that her three grand-children will not go without. But once Galvin has visited Deborah at The Holy Ghost Hospital and sees her shrunken body kept alive by drips and tubes…a body in a vegetative state that blinks once for yes and twice for no…he decides that that the case should be heard in a court of law. The last entry in Deborah’s diary is that of the Guardian Angel Prayer, and it compels Galvin to become her guardian angel, in place of the one who let her down.
“How the hell are you going to stop them? They’ve got God and Colcannon on their side!” – Moe Katz
Bishop Brophy arrives at Galvin’s office with a $300,000 cheque in what he believes is a generous settlement so that the case does not have to go to court. Frank sees this as a derisory offer and declines without checking with the family first. Mrs McDaid finds out and is furious with Frank, slapping him in the face before storming out of his office. Moe, is equally stunned and curious as to why Frank is trying to commit further professional suicide by taking on a case against the Catholic Church…no one can win this battle, given the large US firm of lawyers that they use. After this, Galvin won’t even be “ambulance chasing” anymore, circling the obituary notices in the daily paper for new cases.
Loose lips sink ships
Frank cuts a lonely figure as he makes his way across town to the local bar. Here he meets the new barmaid Debbie, and after one too many whiskies he tells her about the big case he has taken on, and how he has managed to find a expert witness who is willing to testify that the doctors at The Holy Ghost had administered the wrong type of aesthetic to Deborah, which resulted in her choking on her own vomit, depleting her brain of oxygen and leaving her a vegetable for the rest of her life. Life is looking good for Frank and his day in court…that is until his star witness suddenly disappears.
Earlier in the story we watched Concannon, attorney for the defence, conduct a dress rehearsal with the doctors who were to stand trial. He coached them in what to say, and how to say it, ensuring there was a connection between them and the jury.
Dr Towler was performed beautifully by Paul Opacic (Hollyoaks, Emmerdale.) Whilst there was just the right level of arrogance in his manner as he explained in simplistic terms what medical procedures had taken place at the hospital, it was obvious he felt he was demeaning himself in oversimplifying terms. “I don’t have to explain myself to ignorant oafs. Do you have any idea of my stature in the medical community?” This is a man who thinks he is infallible and above the law! It showed why Moe Katz had not wanted Galvin to go up against the establishment. This was a time for the doctors to stick together and turn a blind eye to any misdemeanours.
Ian Kelsey will get all the plaudits for this play, and they will be well deserved as his role is pivotal to the story and his performance is consistently solid throughout; but the supporting cast in The Verdict is an especially strong one and should not be overlooked. Richard Walsh (London’s Burning) stands out by delivering two outstanding performances which are completely different, as both Bishop Brophy and the Judge. Michael Lunney is unrecognisable as the amiable Irish bartender and then the odious Dr Crowley, and Holly Jackson Walters provided a stark contrast to the doctors when she took to the stand as the former admittance nurse, Natalie Stampanatto. Her performance pulled at your heartstrings and you believed every word she uttered. This was a woman who knew right from wrong, and as scared as she might be, she was brave enough to stand up to the old boy’s network.
The jury is still out on a few of the attempts at American accents which weren’t that convincing, and there were some occasions where the acting was rather wooden, but that didn’t detract from an enjoyable night. In summing up, there was conclusive evidence that fans of the five-time Oscar nominated film The Verdict, will be thrilled and entertained by this compelling courtroom drama which has made its succesful transfer to the stage.
The Verdict continues at Theatr Clwyd until Saturday 9th March and then heads to the following venues:
Tues 12th – Sat 16th March ….. Coliseum Theatre Oldham
Tues 19th – Sat 23rd March ….. Theatre Royal Winchester
Weds 27th – Sat 30th March ….. Jersey Opera House
Tues 9th – Sat 13th April ….. Grand Theatre Blackpool
Tues 16th – Sat 20th April ….. Gaiety Theatre Dublin
Tues 30th April – Sat 4th May ….. Kings Theatre Edinburgh
Tues 7th – Sat 11th May ….. Eden Court Theatre Inverness
Tues 21st – Sat 25th May ….. Theatre Royal Plymouth