Theatre Nurse Quotes

And - as a woman reconciled in her own body - I feel I can argue with anyone's god about my right to end a pregnancy. My first conception - wanted so badly - ended in miscarriage, three days before my wedding. A kind nurse removed my wedding manicure with nail-polish remover, in order to fit a finger-thermometer for the subsequent D&C operation. I wept as I went in to the operating theatre, and wept as I came out. In that instance, my body had decided that the baby was not to be and had ended it. This time, it was my mind that has decided that this baby was not to be. I don't believe one's decision is more valid than the other. They both know me. They are both equally capable of deciding what is right.

He saw that her hands were reddened from the days of nursing him, and a flush warmed his face. The feeling was not one of embarrassment—he had no shame when it came to matters of nakedness and physical intimacy. Rather, it was the sense that she had claimed a part of him that he couldn't retrieve…he felt bound to her.

Every ward is full of doctors and nurses repeatedly honking a word into phone handsets in progressively posher voices. 'Theatre... thurta... thartaaaaah.' It's like an am-dam production of 'Gosford Park'. When you eventually manage to get switchboard's satanic robot to understand a word you've said, it's inevitably the wrong one. Today it would have been more efficient to get through to a radiologist with a couple of yoghurt pots and a length of string. 'Radiology.' 'Transferring you to Audiology. Or say: Cancel.' 'CANCEL!' 'Putting you through to the Cancer Ward.

The tears gathered and stood without overflowing the red sockets. Ah! if I were rich still, if I had kept my money, if I had not given all to them, they would be with me now; they would fawn on me and cover my cheeks with their kisses! I should be living in a great mansion; I should have grand apartments and servants and a fire in my room; and they would be about me all in tears, and their husbands and their children. I should have had all that; now--I have nothing. Money brings everything to you; even your daughters. My money. Oh! where is my money? If I had plenty of money to leave behind me, they would nurse me and tend me; I should hear their voices, I should see their faces. Ah, God! who knows? They both of them have hearts of stone. I loved them too much; it was not likely that they should love me. A father ought always to be rich; he ought to keep his children well in hand, like unruly horses. I have gone down on my knees to them. Wretches! this is the crowning act that brings the last ten years to a proper close. If you but knew how much they made of me just after they were married. (Oh! this is cruel torture!) I had just given them each eight hundred thousand francs; they were bound to be civil to me after that, and their husbands too were civil. I used to go to their houses: it was 'My kind father' here, 'My dear father' there. There was always a place for me at their tables. I used to dine with their husbands now and then, and they were very respectful to me. I was still worth something, they thought. How should they know? I had not said anything about my affairs. It is worth while to be civil to a man who has given his daughters eight hundred thousand francs apiece; and they showed me every attention then--but it was all for my money. Grand people are not great. I found that out by experience! I went to the theatre with them in their carriage; I might stay as long as I cared to stay at their evening parties. In fact, they acknowledged me their father; publicly they owned that they were my daughters. But I was always a shrewd one, you see, and nothing was lost upon me. Everything went straight to the mark and pierced my heart. I saw quite well that it was all sham and pretence, but there is no help for such things as these. I felt less at my ease at their dinner-table than I did downstairs here. I had nothing to say for myself. So these grand folks would ask in my son-in-law's ear, 'Who may that gentleman be?'-- 'The father-in-law with the money bags; he is very rich.'--'The devil, he is!' they would say, and look again at me with the respect due to my money. Well, if I was in the way sometimes, I paid dearly for my mistakes. And besides, who is perfect? (My head is one sore!) Dear Monsieur Eugene, I am suffering so now, that a man might die of the pain; but it is nothing to be compared with the pain I endured when Anastasie made me feel, for the first time, that I had said something stupid. She looked at me, and that glance of hers opened all my veins. I used to want to know everything, to be learned; and one thing I did learn thoroughly --I knew that I was not wanted here on earth.

I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. … Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’ As reported by Gambon, their conversation went like this: Olivier: ‘What are you going to do for me?’ Gambon: ‘Richard the Third.’ Olivier: ‘Is that so. Which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, I understand that, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’ Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’ Olivier: ‘What, the King? Richard?’ Gambon: ‘ — the Third, yeah.’ Olivier: “You’ve got a fucking cheek, haven’t you?’ Gambon: ‘Beg your pardon?’ Olivier: ‘Never mind, which part are you going to do?’ Gambon: ‘Richard the Third.’ Olivier: ‘Don’t start that again. Which speech?’ Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘ Olivier: ‘Right. Whenever you’re ready.’ Gambon: ‘ “Was ever woman in this humour woo’d –” ‘ Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’ Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘ Olivier: ‘Wait. Stop. What’s the blood?’ Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’ A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done. Gambon: ‘Shall I start again?’ Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’ Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic. ‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning.

It was her concern and commitment to a friend which last year involved her in perhaps the most emotional period of her life. For five months she secretly helped to care for Adrian Ward-Jackson who had discovered that he was suffering from AIDS. It was a time of laughter, joy and much sorrow as Adrian, a prominent figure in the world of art, ballet and opera, gradually succumbed to his illness. A man of great charisma and energy, Adrian initially found it difficult to come to terms with his fate when in the mid-1980s he was diagnosed as HIV positive. His word as deputy chairman of the Aids Crisis Trust, where he first met the Princess, had made him fully aware of the reality of the disease. Finally he broke the news in 1987 to his great friend Angela Serota, a dancer with the Royal Ballet until a leg injury cut short her career and now prominent in promoting dance and ballet. For much of the time, Angela, a woman of serenity and calm practicality, nursed Adrian, always with the support of her two teenage daughters. He was well enough to receive a CBE at Buckingham Palace in March 1991 for his work in the arts--he was a governor of the Royal Ballet, chairman of the Contemporary Arts Society and a director of the Theatre Museum Association--and it was at a celebratory lunch held at the Tate Gallery that Angela first met the Princess. In April 1991 Adrian’s condition deteriorated and he was confined to his Mayfair apartment where Angela was in almost constant attendance. It was from that time that Diana made regular visits, once even brining her children Princes Willian and Harry. From that time Angela and the Princess began to forge a supportive bond as they cared for their friend. Angela recalls: “I thought she was utterly beautiful in a very profound way. She has an inner spirit which shines forth though there was also a sense of pervasive unhappiness about her. I remember loving the way she never wanted me to be formal.” When Diana brought the boys to see her friends, a reflection of her firmly held belief that her role as mother is to bring them up in a way that equips them for every aspect of life and death, Angela saw in William a boy much older and more sensitive than his years. She recalls: “He had a mature view of illness, a perspective which showed awareness of love and commitment.” At first Angela kept in the background, leaving Diana alone in Adrian’s room where they chatted about mutual friends and other aspects of life. Often she brought Angela, whom she calls “Dame A”, a gift of flowers or similar token. She recalls: “Adrian loved to hear about her day-to-day work and he loved too the social side of life. She made him laugh but there was always the perfect degree of understanding, care and solicitude. This is the point about her, she is not just a decorative figurehead who floats around on a cloud of perfume.” The mood in Mount Street was invariably joyous, that sense of happiness that understands about pain. As Angela says: “I don’t see death as sad or depressing. It was a great journey he was going on. The Princess was very much in tune with that spirit. She also loved coming for herself, it was an intense experience. At the same time Adrian was revitalized by the healing quality of her presence.” Angela read from a number of works by St. Francis of Assisi, Kahil Gibran and the Bible as well as giving Adrian frequent aromatherapy treatments. A high spot was a telephone call from Mother Teresa of Calcutta who also sent a medallion via Indian friends. At his funeral they passed Diana a letter from Mother Teresa saying how much she was looking forward to meeting her when she visited India. Unfortunately Mother Teresa was ill at that time so the Princess made a special journey to Rome where she was recuperating. Nonetheless that affectionate note meant a great deal to the Princess.

Angels sleeps in her cell, her room which should be gay with cushions or theatre programmes or comic pottery, but isn't. The distant clocks have been chiming and ringing all night to pass the time. She lies on her stomach, to hide or protect time, one arm hanging over the edge of the bed, her head wrenched sideways. Everything about her now is unformed. Her intelligence has stopped working. She is herself and, as she flounders, flies, sinks from one dream to another, unrecognizable. What does myself look like? I mean, who am I? You are an examination result, dear. Perhaps, in time, a scholarship. Perhaps an Honors Degree. Try harder. But myself - I mean myself? Perhaps you could find yourself in the Guides, or in the New Testament somewhere. If not, we can provide various substitutes, such as Joan of Arc, Florence Nightingale, Nurse Cavell. It's really none of our business, but we do keep a few heroines handy, just in case. But how shall I deal with myself? What shall I do with myself all my life? You may look in the answer book. You must control yourself, discipline yourself, sacrifice yourself, respect yourself. If necessary you may defend yourself and able yourself, and to have confidence in yourself while effacing yourself is not entirely bad. You must never, however, love yourself or pity yourself, praise yourself or allow yourself to have either will or opinion. Never indulge yourself, never be conscious of yourself, never forget yourself and above all, never be centered in yourself. We hope this is understood? But if there is no one else to love, pity or praise? If no one else is conscious of me, remembers me, if I am no one's centre? That, dear, is what God is for. As Our Lord says, "Are not five sparrows sold for two farthings and not one of them is forgotten before God?" To forget yourself in one sense is desirable, whereas, as we have said, to forget yourself in another sense is not. Now if we rewrite those subjoined sentences, strengthening them by omission of caveats, trite quotations, indirect assertions and vulgarisms everything, we feel certain, will seem a great deal clearer; or, alternatively, more clear. She twists her head, hitting the mattress with a vague, feeble gesture. "But I'll never get there," she says, stating a proved fact. "I'll never get there." The clocks repeat themselves. She turns on her back and, still asleep, rubs her stomach with the unhappy, worried expression of a child who has eaten a sour apple.