Branded as “The best courtroom drama novel in years” when published in 1980, Margaret May Hobbs’ adaptation of Barry Reed’s crime novel The Verdict is being staged at Blackpool’s Grand Theatre.
Set in 1980’s America, the play follows the story of Frank Galvin a lawyer and alcoholic whose life is in despair until he takes on a lawsuit that changes everything. He is asked to take on the case of a young mother who has been left in a vegetative state, unable to move or speak, eat or drink, after suffering a cardiac arrest under anaesthetic during childbirth in hospital. Initially offered a generous settlement by the hospital administrators - the Catholic Church, Galvin senses negligence and so decides to sue the hospital and the doctors involved. It’s a David vs Goliath scenario.
The play opens before the allotted time with Frank Galvin moving around his office, getting ready for the day ahead, drinking copious quantities of Jameson’s Irish whiskey, as the audience enters. This type of opening can be somewhat unnerving for the audience (has it started? Am I late?) but I liked the way it gently opened the play, allowing us to get an insight into how low Galvin has fallen. Notified of the arrival of his first client, Galvin takes to gargling mouthwash to disguise the whiskey smell and spitting the mouthwash into a cactus plant pot and wiping his mouth with one of the two ties that he has available. These opening minutes really lay bare the state of Galvin’s life. Enter Mrs McDaid, the aged mother of the plaintiff. We can see she is desperate and needs help. It is impossible not to dislike Galvin as he tells her he was studying the case “all” last night (he opens the case file just before her arrival, after rescuing it from under his desk just prior to her entry), and pity Mrs McDaid as she clearly believes this man will be the answer to her prayers, this is an emotional scene that set the tone perfectly.
Next into Galvin’s office is Bishop Brophy who represents the hospital and proceeds to offer Galvin not only $300,000 to settle but a job with the hospital's legal team. Initially Galvin seems keen to settle, he goes to celebrate his bumper pay-day at Meehan’s bar before he goes to visit the daughter in hospital and witnesses for himself the extent of her plight. It’s this visit that convinces Galvin that something has gone dreadfully wrong and that the hospital are covering their tracks.
There were some excellent characterisations. Frank Galvin played by Ian Kelsey performed heroically as the lead character. This is a huge part, barely off stage and loaded with legal-speak. It is vital that the actor can carry this part because in doing so they carry the production. The responsibility sat well with Kelsey who moved from brooding alcoholic to revitalised defender of the underdog with a style and energy that was impressive. I particularly enjoyed Kelsey’s performance in the scene after he had been to see the daughter, clearly moved by her condition, it is this event that convinces him to go to court. This scene in particular was played to a hushed audience
Galvin’s mentor Moe Katz played by Dennis Lill lightens the mood, every time he is on stage, regaling Galvin with stories what poor condition his heart is in. Clearly, he cares for Galvin and tells him initially to settle, to spare his prodigy the stress of a high-profile court case that he could easily lose. However, in the end accepting of Galvin’s decision to go to court he supports him, and it is he, who ultimately unearths the witness with the evidence to turn the case on its head.
Ultimately for me, Mrs McDaid played by Anne Kavanagh stole the show. Every time she was on the stage she conveyed perfectly the angst, desperation and commitment to her daughter that this part demands. The scene where she confronts Galvin when she finds out that he has decided to reject the $300,000 without consulting her first, led to a collective intake of breath from the assembled audience.
The set was impressive, in Act 1 the setting was a split stage of Galvin’s office and Galvin’s 'second home', Meehan’s Bar. This allowed the play to flow easily and kept the pace required as act one really set the scene and so it’s important to that interest is kept. Act 2 opens with a courtroom and this was a very impressive set you really felt as though you had been transported to Boston and had taken a seat in the Court House. The incidental music provided by Lynette Webster, during the scene changes lightened the mood and was the perfect addition to the overall production.
If you like a good courtroom drama then this is the play for you, not only is it David vs Goliath, but it flags up racism, social and class distinction and more. There is a twist in the tale, but no spoilers here - go and see for yourself how, for long periods the Hospital’s lawyers always seemed to be one step ahead of Galvin, the revelation brought gasps from the audience. Will good overcome evil? Get yourself a ticket and go and watch this masterpiece for yourself.
Reviewer - Jen O'Beirne
on - 9/4/19
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