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LADY CANNING

 

 

 

 

 

       

ALICE  

 

     

LADY CANNING

 

 

 

BEATRICE       

LADY CANNING

 

 

 

 

FLO                  

ALICE            

FLO  

               

HELEN      

      

FLO                  

LADY CANNING

     

 

FLO                  

PRUDENCE     

BEATRICE        

LADY CANNING

       

HELEN  

          

FLO          

 

 

LADY CANNING

 

for the Care of Sick Gentlewomen in Distressed Circumstances will have to be re-organised when we move to our new premises. We cannot keep Miss Nightingale waiting outside for   much longer. We need to come to a decision about her appointment. I have a letter here from Liz Herbert suggesting that Florence Nightingale would make an admirable Superintendent. She has recently spent some time in Paris making a survey of hospitals. Miss Nightingale comes with very high recommendations.

Lady Canning. We have to be very careful when we make new appointments. What about   the ugly rumours that Miss Nightingale has been for several years in disagreement with her family with regards to her chosen career?

We may have been misinformed. Marianne told us, from certain sources that, for the last     three years, Miss Nightingale’s parents haven’t approved of the step she proposed to take.   However, I recently wrote to Miss Nightingale’s father and I received a letter informing us     that she has his official sanction to apply for this post. We will therefore, invite Miss               Nightingale to join us and complete the negotiations.

I’ll go and bring her in. (Exit BEATRICE)

Thank you Beatrice. (To the Committee) There may be one or two outstanding matters on   which you may wish to question her further. (Enter FLO and BEATRICE) Please, do come in and sit down Miss Nightingale. The Committee and I have considered your appointment very carefully. We have received good reports concerning your work in Paris with the Sisters of Charity. We would therefore, like to offer you the position. We hope you will be very happy as the Superintendent of our new premises at number one Harley Street.

Thank you.

How will you manage financially?

My father has recently made me an allowance of five hundred pounds a year and from this I will bear all the costs of the appointment of a Matron.

Your own personal expenses will also have to come from this allowance. The Institute cannot afford to pay you, but it will be good experience.

I understand.

We have one thousand two hundred pounds in the funds Helen. Any further money will have to be raised from additional subscriptions. Miss Nightingale is in complete charge of the management, so she will be responsible for the finances.

What about the appointment of a Chaplin?

The appointment of a Chaplin must be our responsibility.

We must ensure the right person is selected.

Come now everyone. Miss Nightingale has to work with him, so I suggest she is responsible for his appointment.

But she looks so young. (To FLO) Will you be able to command the respect that goes with   the post?

Some people have remarked that I look a little youthful. I will be bringing my personal           attendant for the office of Matron. She is a more elderly, but very respectable lady. I hope her appearance will make up for my deficiencies in years.

Are there any further questions? (Pause) Good. There’s much work to be completed to         prepare the new Institute for the first patients. If all goes well, we should be able to move into the new premises during the middle of August. I bid you all good morning. (The scene   dissolves to the New Institute)

(Beating a gavel on the table) Now then everyone. Let’s get down to business. The Institute

ACT ONE

 

SCENE 3:             A ROOM IN THE OLD PREMISES OF THE INSTITUTION FOR THE CARE OF SICK                                      GENTLEWOMEN IN DISTRESSED CIRCUMSTANCES

 

(April 1853. A Committee of ‘Fine Ladies’ are sitting down quietly talking. LADY CANNING, the chairman, brings the group to order)

GO TO:

ACT ONE

ACT ONE Scene 1

     

                                              

ACT ONE Scene 2                      

ACT ONE Scene 3

ACT ONE Scene 4                      

ACT ONE Scene 5

ACT ONE Scene 6                      

ACT ONE Scene 7                      

ACT ONE Scene 8                      

                                                      

ACT ONE Scene 9                      

ACT TWO 

ACT TWO Scene 1                     

ACT TWO Scene 2

ACT TWO Scene 3

ACT TWO Scene 4

ACT TWO Scene 5                     

ACT TWO Scene 6

ACT TWO Scene 7

ACT TWO Scene 8

ACT TWO Scene 9

ACT TWO Scene 10

ACT TWO Scene 11

ACT TWO Scene 12

ACT TWO Scene 13

                                     Page updated: 15 April 2024                           © Roger Holman Music

                                     Page updated: 3 March 2022                           © Roger Holman Music

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