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ACT ONE

The musical opens with, Prelude To The Crimean War (6), a timely reminder of conditions in war that also claimed many lives… namely, the eternal piercing wind, torrential rain, bitter cold and hypothermia. All of these sounds are set against the constant, depressing din of musket and cannon fire. Death from disease, which was the biggest killer in the Crimean War, was central to Florence Nightingale’s reform programme.

 

This leads into, Overture (1), where a solo voice (off) echoes the words that so often came to Florence Nightingale in her dreams of her teenage years, 'Florence, do you hear me calling? Florence, I have a dream.' The Overture develops through various themes before emerging as the backdrop to the opening scene, a street market, set in Romsey, Hampshire in 1851.

 

This scene depicts the contemptuous attitude towards the 'affluent society'. Florence experienced discrimination and opposition to her reforms at home and in Crimea. As the musical progresses, this attitude is completely transformed as described by ‘the full company’ during the last two songs of the musical. By the time Florence returned from the Crimea, she was held in the highest esteem by everybody.

 

Born into a wealthy family, as illustrated in the opening song, Daughter Of A Rich Man (2), Florence was expected to 'remember her social standing'. Her father had first class connections in the Government’s Cabinet, but her mother, Fanny, completely dominated family life, What Momma Says Goes (3).

 

Although Florence trained as a nurse, her principal role was to be an administrator and statistician. However, she was always interested in the practice of nursing and, to the horror of her mother in particular, Florence eventually persuaded her father to allow her to study the subject at various hospitals.  In those days, nurses were generally regarded as filthy and uneducated.

 

Florence has been quoted as saying her calling was in nursing and, in her late teens whilst at the family home at Embley Park, Romsey, she heard voices from God urging her to abandon family life in favour of hospital life. This continual conflict between family expectations and personal ambitions often left Florence feeling at odds with herself as she sings, Who Am I? (4).

 

After a period of training, and with the support of her father, Florence is invited to interview for the position of Matron at the newly formed ‘Institute of Sick Gentlewomen in Distressed Circumstances’ in London. Although the committee members think that, at the tender age of 31, she is too young for the position, her father's gift of an allowance of five hundred pounds a year helps to persuade them to offer her the position.

 

Florence immediately sets about modernising the institute. She shouts instructions at the top of her voice over the din of workers busily refurbishing the building in, The Gadget Number (5).  Florence's aim is to rid the hospital of long-term patients who regard the institute more as a hotel than a hospital.

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The following year, the war in the Crimea is very much an issue. We see a short scene in a Crimean field hospital, which conveys an insight of what is to come. Set against booming incidental music, howling wind and rain, together with the deafening roar of cannon and musket fire, an army surgeon struggles under appalling conditions to tend to a badly injured soldier. Background sound effects and music resound against a bellowing officer, Prelude To The Crimean War (6).

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Word eventually reaches England via The Times newspaper’s war correspondent that British soldiers are suffering terribly, All Those Wounded Soldiers (7). As a consequence, six months later, Florence is appointed by her friend Sidney Herbert, the Secretary at  War, to  muster forty of  the  best  possible  nurses to voluntarily accompany her to the English General Hospital in Turkey.

 

Although there were nurses already in Crimea, they were often drunk and preyed on the dying and dead soldiers.  Florence was determined to stamp out this practice.  As a result, the committee imposed a heavy list of restrictions upon the applicants, The Rules Song (8).

 

Florence insists on the issue of a special uniform that would clearly distinguish her nurses from the others who were already in the war zone.  This results in the extremely funny, Uniform Song (9).  

 

Eventually, a team of thirty eight nurses are ready and, in a highly charged emotional send-off at Tilbury docks, they depart for Turkey and the Crimea, We’re On Our Way At Last (10).

 

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​ACT TWO

In an overtly noticeable change of environment and sentiment, the scene moves to Scutari, base camp for the military action in the Crimea.

 

Unbelievably, at this time, people of private means would follow military campaigns and watch battles. The Crimean section opens to an utterly bizarre meeting between the British army and London tourists, who absurdly sing, We’re Travelling Gentlemen (11).

 

Life for the army at the war front is dire. Conditions are appalling. The red tape of officialdom wreaks havoc. The wounded huddle in pure filth, sanitary facilities are non-existent and food rationing is derisory. Following a humorous scene, the wounded soldiers comically sing, Skin And Bone (12).

 

On arrival in Scutari, Florence and her nurses are very much shunned by the military, ignored and bundled into four small rooms no larger than an average-sized bedroom, a kitchen and a closet. In one room a nurse finds the corpse of a Russian general and they amusingly sing, Dead Man In My Bed (13). 

 

Against her better wishes, Florence refuses to act on her own accord and she and her entire team sit idly by watching events in horror until, upon the sudden arrival of countless further injured soldiers, the military are forced to capitulate and, very reluctantly, recruit Florence’s assistance.

 

The nurses set about the task of improving conditions for the wounded soldiers. With time, patience and relentless hard work, her team gradually wins the respect of the injured and an empathy builds between the nurses and the soldiers.  Florence possess a tireless resource of energy and, after having spent all day on administrative matters, she would frequently devote most of the night comforting and supporting injured soldiers, often assisting them with their correspondence to loved-ones back home and their personal financial matters, Don’t Lose Heart (14).  It is from these moments that the famous ‘Lady of the Lamp’ image of Florence Nightingale was formed.

 

Florence creates substantial changes in attitudes and conditions within the military hospital, much to the consternation of the Chief Medical Officer of the Army, Doctor Hall, who still favours the old ways of hospital management and methods of treatment. Florence and Doctor Hall argue in, 

A Classic Case Of Clashing Personalities (15).  

 

Shortly after having achieved her successes, Florence travels to other military hospitals in the region, including a ship hospital anchored off the town of Balaclava, where Doctor Hall continues to make her life difficult. It is here, having suffered severe exhaustion and malnutrition, that Florence succumbs to the notorious ‘Crimea Fever’ - a disease that very nearly claims her life.  Amid fear and despair, the doctors, nurses and injured soldiers pray for her recovery by singing, We All Depend On Her (16).

 

Following the fading moments of the song, the scene transfers back to England and the market stalls where people are seeking souvenirs and any memorabilia they can find of the now famous Florence Nightingale.  As the crowd purchase their mementoes, a newspaper seller bursts in to declare the war is over,

War Is Over/Daughter Of A Richman (Reprise) (17).   

 

Florence Nightingale is, by now, a national heroine. Queen Victoria is set to present her with the highly prestigious ’Order of Merit’ and crowds line the streets and harbour to greet her return from Turkey.  However, very much on her own after having swopped ships at a point on her return trip, Florence sneaks home, unannounced and unapplauded, via another route, in order to purposely avoid all the fuss.  Florence’s mother explains to her that the whole country must have contributed towards the Nightingale Fund, to which Florence responds by announcing her wish to create an ‘Institute for the Training of Nurses’.

 

The entire company then launches into the rousing Finale, Saluting Florence Nightingale (18).