The identity crisis which comes when the doctor becomes the patient, placed in an uncertain and vulnerable situation, is the focus of Farine Clarke’s new work, Heartsink.
‘Heartsink’ is the term, a colloquial one, given to patients by their GPs, without their knowing, if they are deemed to be particularly challenging, difficult or a frequent visitor. It is the former, a difficult and challenging patient, that proud and experienced GP Dr Jeffrey Longford (Aden Gillett), becomes when diagnosed with incurable cancer, struggling to reconcile with his new existence, fixing the problems of others while his own spirals out of his control.
It is a neat setup and one that is ambitious in its execution, in a tremendously well-acted 85 minutes that flies through Longford’s diagnosis, resigned acceptance and internal conflict now that treatment plans and next steps are decided elsewhere. Yet it is not just significant illness which Longford explores, but also an erosion of identity, fearing to be categorised, identified, by his ailments and conditions, with Gillett producing a superb individual performance in maintaining Longford’s stoic, stubborn, doctor, fiercely holding onto his profession as everything else subsides. Gillett’s poise is compelling, with Longford’s internal rage about his situation never bubbling over.
Longford is also supported by those around him, who each provide him with a different viewpoint on the importance of life and a rumination on grief. Kathy Kiera Clarke’s ‘heartsink’ Cara, ever-present with cake and a Thursday chat, is initially a threat to Longford’s rigid time-keeping, yet a stark reveal in a moving exchange unveils Cara’s real motivations. It is in these moments where writer Farine Clarke’s script truly shines, in quieter, deft dialogue, delivered beautifully by Kathy Kiera Clarke in a manner that exposes the rawness of grief, with writer and performer combining to elicit a deserved emotive response despite the character’s brevity on stage.
Meanwhile, Jeffrey’s best friend and mentee, Dr Roofi (Vikash Bhai) offers Longford much-needed clarity. The pair have an intriguing conversation about assisted dying, which feels a little too large a problem from such a brief play, yet Roofi’s clinical yet fair approach is a nice representation of a modern medicine which aged Longford struggles to connect with.
But it is Longford’s relationship with young medical receptionist Suzie (a terrific Megan Marszal) which provides the piece’s biggest moments. At first, infuriated by Suzie’s reduction of Jeffrey to his first name, rather than his professional title, Longford soon mellows and finds great comfort in conversation, a sense of grumpy normality in an otherwise impossible situation. Marszal’s tireless, gripeless portrayal of Suzie, exasperated by Jeffrey’s complaining yet finding him equally as endearing, is effective, and the pair’s quickly-formed bond, despite their stark differences, reaches a moving payoff.
Heartsink is a little too brief, reaching an abrupt conclusion that is probably a deliberate choice but one that feels contradictory to the lengthy exchanges that otherwise dominate. It is a play billed as a comedy, but this is a slight mislabelling, where the jokes are instead used to deflect some of the horror of Longford’s situation. There are, too, a few moments where Clarke’s writing is a little cynical about the ‘suits’ in the NHS, hinting at her own experiences as a doctor, with the play being at its best when it returns to focus on Longford, his illness and his determination to keep his sense of self.
By its end, Heartsink earns an emotive and poignant conclusion, with Sean Turner’s direction subtly layering grief and connection in a way that is both thought-provoking and moving. A horrendous situation for someone to find themselves in, but a reminder about the importance of identity and preserving someone’s sense of self when all else collapses around them.
