27

Religion and science form an alliance of sorts in 27, a new co-production between the Lyceum and the NTS. Written by Abi Morgan and directed by Vicky Featherstone, this play analyses the consequences of conducting scientific research in a contemporary Scottish convent. Taking place over five years in a catholic convent in the west of Scotland, 27 follows a team of scientists, led by Dr Richard Garfield (Nicholas Le Provost) as they attempt to discover more about Alzheimer’s by studying the nuns.

However questions of morality and respect soon hamper their efforts, as a number of issues, such as funding, and flirtations between Dr Garfield and Sister Ursula Mary (Maureen Beattie) threaten the project, and force everyone to make difficult decisions. Based on the true story of the American epidemiologist, Dr David Snowdon and his pioneering ‘nun study’, which began in 1986 with around 700 American nuns taking part, 27 brings together two science and religion for a debate on morality, illness, research, faith, love and identity.

While Morgan should be applauded for bringing together two very different, and often warring parts of human existence for this play, and finding a way to sensitively handle what is, and probably always will be, a very sensitive subject, there is something missing from 27. While the first act is a rich and often humbling study of a group of very different people, with warring beliefs working together to try to find a cure for one of the most devastating illnesses to affect humanity, the second act, with very little left to go on, is a weaker, and somewhat predictable end to the play.

Although the play does pose some interesting questions, and reveals that science and religion can agree on some subjects, the standout theme of identity, of who we believe we are, and who others believe we are is somewhat underdeveloped and ignored in a play that is so full of ideas and thoughts that it can at times, be hard to follow. While it contains some strong performances for Beattie and Le Provost, and while both Morgan and Featherstone do need to be congratulated for bringing such a challenging, relevant and thoughtful play to the stage, 27 although staged with care and understanding, is a disappointing production.