Yesterday in brilliant sunshine Dorothy Hodgkin’s son and daughter Luke and Liz unveiled a blue plaque in her honour on the house in Oxford’s Woodstock Road that was her home when she won the Nobel prize. Hodgkin died in 1994: if you think recognition has been a long time coming for Britain’s only female Nobel-prizewinning scientist, then bear in mind that people don’t qualify for plaques until at least 20 years after their deaths. Needless to say Dorothy’s name has been on the list from the earliest opportunity. Continue reading “A blue plaque for Dorothy”
It was great to hear on Monday that Norwegian neuroscientist May-Britt Moser had shared the Nobel Prize for Physiology or Medicine with her husband Edvard and their former colleague John O’Keefe of UCL. That brings the all-time number of women awarded Nobel prizes up to 16, and the number of prizes awarded to women to 17 (Marie Curie won twice). Continue reading “Getting physical with Nobel prizes”
Though I once caught a glimpse of a frail figure in a wheelchair at a function in an Oxford college garden, I never met Dorothy Hodgkin. But she has probably influenced my life and work more profoundly than any other.
Twenty years ago I was writing regular science features for the Oxford alumni magazine, Oxford Today. For the summer issue of 1994, I took as a ‘peg’ the 60th anniversary of Hodgkin’s first research paper* and wrote a piece about her life and work, comparing the balance of opportunities and obstacles with those of young female scientists at the time. Continue reading “Dorothy Hodgkin and me”
I had to heave a sigh, not for the first time, when during last night’s BBC University Challenge quarter-final the otherwise frighteningly well-informed Pembroke College Cambridge team failed to identify Dorothy Hodgkin from the Royal Society stamp issued last year.
Most of them are reading for science degrees, too. They did have a stab – after a hasty discussion, the electron density map at the top of the stamp seemed to give them a clue. DNA, someone ventured (it’s actually Vitamin B12). Rosalind Franklin! She has always been better known than Dorothy, not so much for the invaluable role she played in the solution of the DNA structure, but for her subsequent caricaturing by Jim Watson and the fully justified backlash that followed. But it wasn’t the answer Jeremy Paxman was after, and they uncharacteristically failed to add to their eventual winning total of 240 points.
I did what I could last year – Dorothy’s centenary – to raise her profile, touring Hidden Glory and contributing to a day in her memory at the Royal Society. But it seems that even the distinction of being Britain’s only female science Nobelist is not enough to penetrate the consciousness of the best young Cambridge minds.
Last night I went to see a live relay of Simon McBurnie’s A Disappearing Number in our local cinema, largely prompted by Miranda Cook (who plays Dorothy in Hidden Glory) enthusing about its recent London performance. I missed the Complicité production when it originally opened in 2007: having won numerous awards it’s been all over the world before its final tour in the UK this year.
I thought it was one of the best things I’d seen for ages. I loved Saskia Reeves’s performance – I saw some similiarities between the characters of Ruth and Dorothy Hodgkin, the combination of slight social diffidence with absolute command of and love for her subject, plus incredulous delight at falling in love, and using laughter to cover nervousness, embarrassment or even pain.
I thought the staging was breathtaking, creating so many moods and spaces with such economy. And I was surprised at how few people came on for the curtain call – somehow it felt like a much larger cast.
The story of Ramanujan, the self-taught mathematical genius who came to Cambridge in 1914 to work with G.H. Hardy, is inspiring and heartbreaking at the same time. Interweaving the historical narrative with modern characters was much more than a device, as McBurnie created moving parallels of love and loss as well as a means of explaining the maths in simple terms. I thought his courage in including complex content with quite a lot of exposition paid off, and not just because the performers were excellent.
I am lost in admiration at the way he wove together the themes of continuity and connection (the way he exploits the dramatic possibilities of the telephone is masterly) , in a way that made the endings seem optimistic rather than tragic. The use of music (by Nitin Sawhney, dance and video gave physicality to an otherwise intellectual theme and increased the emotional impact.
I gather this was the last performance of the current run, but who knows when anyone might think of reviving it, so I’m so glad to have grabbed the last chance to see it.
It’s taken a while, but we have finally managed to book five tour dates for Hidden Glory. They are:
SALFORD QUAYS, The Lowry Studio, M50 3AZ, 25 October, 7.00 pm, £8/£6, www.thelowry.com, 0843 208 6000
BRISTOL, The Wickham Theatre, BS8 1UP, 27 October, 7.30 pm, free but booking is essential, www.bristol.ac.uk/twilight-talks, 0117 331 8315
CAMBRIDGE, The Old Labs, Newnham College, CB3 9DF, 12-13 November, 7.00 pm (+ Sat mat), £8/£6, www.wegottickets.com/f/p/1/2059
OTLEY, Otley Courthouse, LS21 3AN, 19 November, 7.30 pm, £7/£5, www.otleycourthouse.org.uk, 01943 467466
YORK, 41 Monkgate, YO31 7PB, 20 November, 7.00 pm, £8/£6, www.yorktheatreroyal.co.uk, 01904 623568
Please tell all your friends, and come along yourself!
Last Friday I went up to London to see a work-in-progress performance of The Nature of Things – the ‘other’ Dorothy Hodgkin play. I don’t regard it as competition as Esther Shanson’s work is so much more ambitious and complex than Hidden Glory. More than two years ago she set out to tell the stories of three women crystallographers – Kathleen Lonsdale, Dorothy Hodgkin and Rosalind Franklin – using dance, drama, music and both still and video projection. The result was a revelation, though still unfinished.
The Place, London’s leading centre for contemporary dance, has supported Esther’s production and it was packed for the free show with an eclectic mix of dance lovers, crystallographers, Dorothy’s relatives and colleagues, and curious members of the public. We saw the first act, which focuses mainly on Kathleen Lonsdale but introduces the other two women, and a video clip from the second act which uses gradually multiplying images of dancers performing to a fast jazz score to represent the three-dimensional structure of insulin.
I know I come to the subject with a lot of prior knowledge and interest, but I was riveted throughout. Esther and her company have developed a wonderfully touching script that fleshes out the relationships between Lonsdale, her mentor William Bragg and her husband Thomas. An altogether more spiky relationship characterises the pairing of a reincarnated Rosalind Franklin and James Watson as they review the history of structural molecular biology. Dorothy’s early, tentative steps in both science and love feature in this first act, but we will have to wait for the second for her ultimate triumph, the solution of insulin.
I’m less qualified to comment on the dance elements, but using dancers to represent the molecules that the three women studied brings out the personal relationships each had with her subject, and the sense of trying to pin down an elusive quarry. For DNA, the extraordinary aerialist Ilona Jäntti wove patterns with her body suspended between two ropes hung from above the stage.
We are promised the complete piece in 2011, and I for one can’t wait.
As promised, here are the tour dates and contact details for Hidden Glory so far. Three more (London, Cambridge and York) are close to confirmation and I will add them as soon as possible.
Wednesday 27 October, The Wickham Theatre, Bristol BS8 1UP, 7.30 pm, as part of the Bristol University Centre for Public Engagement’s Twilight Talks series. Free. Book at www.bristol.ac.uk/twilight-talks
Friday 19 November, Otley Courthouse, Otley, W.Yorks LS21 3AN, 7.30 pm, as part of Otley Science Festival. Book at www.otleycourthouse.org.uk
My long absence from the blogosphere is largely due to Dorothy Hodgkin’s centenary, which fell on 12 May 2010 (belated birthday wishes, Dorothy).
For a couple of years I had been sending gentle prompts to various quarters suggesting that something should be done to mark the occasion, the 100th anniversary of the birth of Britain’s only female Nobel-prizewinning scientist. Jim Kennedy, Director of the Oxford University Museum of Natural History responded by choosing that date to unveil a bust of Dorothy in the Museum, a long-cherished project that he had managed to pull off with support from the EPA Cephalosporin Fund.
Inspired by a one-woman show about Barbara McLintock, The Longing to Understand by Jane Cox, I offered to write a show about Hodgkin, Hidden Glory, to be performed on the evening of the unveiling. On a scarily short timescale the project came to fruition as a professional show with a wonderful actress, Miranda Cook, and director, Abbey Wright, supported by a young creative team of designer Florence McHugh, lighting designer and production manager Andy Reader, and sound designer Chris Barlow.
Because my promptings had led the Royal Society to hold a commemorative day on 12 May, the Museum event took place on 10 May 2010. Dorothy’s sister Diana, 92, flew all the way from Canada to be there and to unveil the bust; all three of her daughters were also there, as were Dorothy’s daughter Liz Hodgkin and numerous other family and friends. We also invited lots of Oxford chemists and molecular biologists who had known Dorothy. ‘Uncanny’ was the verdict of one of them on Miranda’s performance, which was moving and quietly amusing by turns as it revealed the essential integrity of Dorothy’s scientific and personal lives.
We’re all very proud to have been involved in the project, and hope it can move on to new venues (we did a second performance at Lady Margaret Hall, Oxford a few days later); I will post here as soon as we have some dates.
I’m now more convinced than ever that theatre is a great way to introduce audiences to science and scientists, giving them an insight into the scientific life that they will never get either from books or from ‘public engagement’ talks and demonstrations.
No sooner have I bewailed the Nobel Committee’s neglect of female physical scientists than they give the Chemistry prize to Israeli scientist Ada Yonath! She is the first woman chemist to receive it since Dorothy Hodgkin in 1964, and the fourth ever. Her award, shared with Venki Ramakrishnan from the LMB in Cambridge and Thomas Steitz from Yale, is for discovering the three-dimensional structure of ribosomes, the intracellular machines that construct protein from RNA templates.
And she is another X-ray crystallographer.