Rosalind Franklin

The protagonist of the play, Rosalind Franklin, is a brilliant Jewish British citizen in her mid-30s. She holds a PhD from Cambridge University in the physical chemistry of organic structures, most notably the fine structure of coal, graphite, some viral structures, and DNA. She is awarded a fellowship opportunity at the prestigious King’s College in London and accepts, under the impression that she would be heading up the study but later to discover that she is actually a glorified assistant to the established Dr Wilkins. Instead of viewing her decision to move to Paris to pursue her dissertation in the area of structural minute particles as ambitious, Rosalind’s work colleagues dismiss it as irresponsible and suggest she abandoned the war-torn England when ‘she [the Nation] needed us most’ (p. 14). But Rosalind’s brave venture allowed her to determine the precise area of study she wished to pursue and gave her an invigorated attitude toward the new industry of crystallography as a means of research. She continually draws inspiration and spiritual strength from the outdoors; as Gosling notes ‘she would just disappear sometimes’ (p. 25) and he would receive a call days later from a foreign country where she would have travelled in order to decompress. This inclination works unfavourably for her and she is called a ‘restless ghost’ (p. 25) by her peers at King’s College. In spite of this, Rosalind proves her dedication to the task time and time again, priding herself on being ‘meticulous’ (p. 46) and not allowing herself what she considered the sin of being incorrect in anything. Her competitive nature and tenacity befuddle her esteemed work colleagues at King’s College and their bullying reactions speak volumes about their own insecurities and inherent prejudices about women working in the male-dominated field of molecular research.

As the play continues, it becomes clear that Rosalind has been victim to gross sexism and antisemitic behaviours for most of her career and wears the abuse well, either snapping back with a witty retort or ignoring the behaviour and finding consolation in her work. Ziegler suggests that her toughened demeanour is an armour that Rosalind has built up over the years to protect herself from encountering the indignities that come with being a Jewish woman in the era. Nevertheless, her attention to detail is admirable, although at times it becomes obsessive as seen during her interactions with Gosling as she attempts to get the photographs to be clearer – ‘…they [the pictures] need to be so much clearer, Gosling…’ (p. 27). Her matter-of-fact manner can sometimes seem abrasive, especially to the twee English gentlemen that she must consort with, but the fabric of her upbringing has forced Rosalind to become dismissive of the things that are out of her control. The manner in which she considers the horrific genocide of the Holocaust where she advises that it’s best just to ‘…get by, don’t you? That’s all one can do’ is, at first glance, cold and calculating – ‘You can’t constantly be thinking about that… or I imagine it would destroy you.’ (p. 64), but it is oddly reminiscent of many post-war attitudes of the era.

In a cruel twist of fate, despite Rosalind’s cautious approach to sharing her research with the men she consults with and her reticence to depend on others, her research assistant Gosling shares Photograph 51 with Wilkins, who in turn shares it with American scientist Watson (also in the race to discover the secret to life) and her work is slowly sponged away by other scientists, resulting in Francis Crick, James Watson and Maurice Wilkins sharing a Nobel Peace Prize in 1962. Although later claiming that Franklin didn’t receive accolades because Nobel awards are never awarded posthumously (Franklin had died a few years earlier in 1958), controversial theories suggest she was removed from the credit purely on the basis of her sex. Ziegler’s play has fed those theories even further, in asserting that Rosalind was in some way to blame because she was distracted, controversially removing the blame from her colleagues who overlooked her contribution to the findings and preyed upon her good work. This angle has divided audiences since the opening of the play in 2010.

A surprising catharsis comes for Rosalind when she is diagnosed with ovarian cancer and reflects on how she has lived her life, conceding defeat and resigning herself to her work being unfinished.

Rosalind Franklin Quotes

‘When I was a child I used to draw shapes… I drew patterns of the tiniest repeating structures. In my mind were patterns of the tiniest repeating structures.’ (Rosalind reflecting on how she was always fascinated with science and structural composition) p. 11

‘I don’t like others to analyse my data, my work. I work best when I work alone. Of, for whatever reason, I am forced into a different situation, I should feel that I came here under false pretenses.’ (Rosalind) p. 13

‘As a girl, I prided myself on always being right. Because I was always right. I drove my family near mad proposing games to play that I’d win every time.’ (Rosalind) p. 46

‘You know, you really are unspeakably difficult. I’ve never encountered a woman with such temerity.’ (Wilkins to Rosalind) p. 48

James Watson

Watson is a confident American scientist, possessing all the brash social qualities of a man at the peak of his career. Working as a researcher at Cambridge University, his dreams of fame and his desire to prove himself to his academic successors are typical of the industry but are useful traits as he spurs himself on to develop theories in response to the discovery of DNA’s structure. Despite Wilkins turning down his request to join the team at King’s College, Watson joins a team in competition at Cambridge and is a constant reminder that cracking the DNA mystery is one of the most important scientific discoveries of the century. Watson is joined by fellow research partner Francis Crick and they become a fearsome duo. Their ambition knows no bounds and Watson even preys on Wilkins’ good faith gesture of sharing the elusive Photograph 51 with him. Although they credit Wilkins for his assistance in helping them with the right information to erect a correct model of the structural DNA, they completely overlook Franklin’s contribution and show no remorse for their actions.

Watson cites his stern upbringing as the reason why his curiosity has been stirred to such an extent and he sees the natural world as a puzzle to be solved, devoting his life to ‘crack[ing]’ (p. 29) nature’s mysteries and ridding himself of the awful feeling of not having solved this mystery of life. His father’s influence on him is a typical example of the paternal pressure placed on a child from a young age and as his childhood home was devoid of any religion, Watson admits he ‘needed to go looking for my own set of instructions for life’ (p. 29) which no doubt began his path to solving the puzzle of genetics.

His petty refusal to acknowledge his shortcomings are noted by others when they suggest he doesn’t want to ‘admit that it’s [Rosalind’s correction of his work] right’ (p. 43), confirming the detrimental lengths his prejudices reach and, possibly, the reason why success is not immediate to him. Watson is the most overtly critical of Franklin, his disparaging comments about her academic abilities pale in comparison to the nastiness he exhibits as he makes fun of her physique. He is openly sexist, antisemitic and self-absorbed, but is still considered to provide much of the comic relief in the play.

James Watson Quotes

‘When I was five, my father told me religion was the enemy of progress, a tool used by the rich to give purpose to the lives of the poor… he said the worst thing is that it eradicates curiosity, because it solves everything.’ (Watson to Wilkins on his upbringing) p. 29

‘It’s all I can think of. All I can see. And I want in on it.’ (Watson about the race to solve the mystery of DNA) p. 30

‘I mean, she could possibly be attractive if she took even the mildest interest in her clothes… there’s nothing gentle, nothing remotely tender about her. She’s a cipher where a woman should be.’ (Watson on Rosalind) pp. 42-3

‘And we have to build another model. Right now. We have to start right now. We’ve got it, Francis. It’s ours. They’re sitting on it and they don’t know it. It’s ours.’ (Watson to Crick after surreptitiously spying Photograph 51) p. 56

Maurice Wilkins

Wilkins is a British physicist at King’s College and is responsible for bringing Rosalind to King’s to assist him in his studies. His standing is secure amongst the community of academics at the college, having been lauded for his previous research, but he learns quickly that this reputation alone will not coerce Rosalind to work under him as his assistant. Wilkins is Rosalind’s foil and rival but in spite of his brash behaviour toward her, he recognises her merit and longs to win her trust and work together on their united passions. His banal efforts to start afresh with Rosalind are thwarted by her effrontery at him for regarding her as a lesser scientist because of her gender, referring to her by the pet name ‘Rosy’ and ‘Miss Franklin’ when her qualifications as a doctor equal his. He mistakes her continued aloofness as superiority and begrudges working with her, eventually realising that the working relationship is beyond repair. This leads him to seek collegial support from the team at Cambridge. Soon, he shares Rosalind’s painstaking research and the infamous Photograph 51 with them, allowing them to proceed in the new direction which eventually leads onto to success in the research area.

Although his professional success should see him brimming with confidence, Wilkins consistently tries to make connections and ingratiate himself among his peers and is the first character to comment on the effects science has on the social life of those in passionate pursuit of it. His chauvinism is a symptom of his traditional upbringing and audiences are perplexed as to how a figure who is so reticent to see things change could possibly be a principal researcher into unchartered areas of science. Audiences are given a glimpse into his past, and the possible reasons why he is bruised about working with a woman, in a discussion with Rosalind when he discloses his estranged wife’s ‘cruelties’ (p. 48) and that she went to great lengths to keep him from seeing his own son. His refusal to enter into more detail on the matter confirms how raw the sentiments are to him.

A twist in the final act of the play sees Rosalind appear overlooking the stage, just as the men had been in the earlier acts. Despite sending her a warm letter upon learning of her illness, Rosalind’s death hits him hard and the final scene is Wilkins trying to make amends for his treatment of her. He is bashful about his actions toward her when she first arrived at the college and critical of his lack of collegiality and loyalty when it mattered the most; admitting that if he had the opportunity, he would do things differently ‘just us [Wilkins and Rosalind] this time’ (p. 81) and Ziegler cleverly uses the literary allusion of The Winter’s Tale to supplement meaning.

Maurice Wilkins Quotes

‘No. No misunderstanding. Circumstances changed. You see… we now feel that if we discover this structure – this structure – we could discover the way the world works, Miss Franklin. What some are calling ‘the secret of life’. Can you imagine that?’ (Wilkins to Rosalind when they first meet) p. 13

‘And all I wanted to say was that I don’t like that things have got off to a… rocky start. I’d like to begin again.’ (Wilkins to Rosalind) p. 19

‘But that’s not how it happened. I didn’t just give him the photograph. He asked for it.’ (Wilkins defending his action of giving Photograph 51 to Watson) p. 56

‘And I have spent my whole life in regret.’ (Wilkins) p. 83

Ray Gosling

Portraying wisdom beyond his years, Ray Gosling is a graduate student at King’s College and is assigned to assist Rosalind with her research. Although he freely admits being a malleable asset to his senior colleagues, he is refreshingly earnest and his reception of Rosalind when she first arrives is warm and genuine. His contribution to the development of the breakthrough Photograph 51 is also buried and in this way, he resembles Rosalind who is swept aside as the more aged members take the credit for the findings. His role in the play is pivotal as Ziegler uses him more often than any of the other characters, to comment on the narrative by stepping outwards from the action of the play and offering commentary.

His part in exposing the valuable findings is downplayed by using verbs such as ‘slipped [Wilkins] the photograph’ (p. 49), suggesting that it was in error or done covertly. Nevertheless, he is rarely seen as the villain as his earnest nature excuses the betrayal when he innocently claims that he ‘did think it was his [Wilkins’] right to see it’ (p. 49).

Rosalind’s cancer diagnosis rattles Gosling when he recalls warning her about prolonged exposure to the x-ray machine and his method of attaining closure is to deliver an honest eulogy to the audience of Rosalind’s ‘focus[ed]… progress… [and her] lasting contributions[s]…’ (p. 80).

Ray Gosling Quotes

‘Doctoral students are good people to work with, we’re like liquids – we take the shape of the vessel into which we’ve been poured.’ (Gosling to Rosalind) p. 18

‘Sometimes she would just get away from the lab. I’d arrive in the morning and no one would be there.’ (Gosling about Rosalind) p. 24

‘I don’t think I’ve set my mind to something for more than five minutes in my entire life without wanting to put the kettle on…’ (Gosling) p. 31

Don Caspar

Although initially bonding over the fact that they are the only two Jewish people in the college, Rosalind and Caspar become attracted to one another over time. The American scientist is not intimidated by her abilities but rather becomes fascinated by her research and the tenacity she applies to her work. His support of her ‘doing this amazing… no, ground-breaking work’ (p. 72) stand in direct contrast to the ‘old school’ colleagues such as Wilkins who pretend her contribution is immaterial to the cause. Often jumping in to defend her in times when the other men are narrating over the action of the play, his actions are often admirable and echo a more modern appraisal of the famous woman and her pioneering discovery.

Their budding relationship shows promise as they dine together but is brought to a quick cessation when Rosalind discovers her cancer diagnosis and learns that her condition is terminal. Strangely, at the end of the play after Rosalind has passed away and she reflects on how she might have done things differently, Caspar stands among the chorus of men suggesting behaviours in her favour, suggesting if she’d been more ‘wary, more self-protective’ (p. 80) she may have saved herself being cheated. True to form, his suggestion is kinder than all the others, which collectively pigeon-hole her and place the blame entirely on her for not being ‘a better scientist… been friendlier… born a man’ (p. 80).

The fact that he later references his grandchildren attests to Caspar living a full life after Rosalind’s death.

Don Caspar Quotes

‘I think one sees something new each time one looks at truly beautiful things.’ (Caspar in his letter to Rosalind) p. 24

‘I have this theory… I think the things we want but can’t have are probably the things that define us…’ (Caspar to Rosalind) p. 73

‘It’s the tricky thing about time, and memory. I tell my grandchildren: whole worlds of things we wish had happened are as real in our heads as what actually did occur.’ (Caspar) p. 81

Francis Crick

As Watson’s research partner at Cambridge University, Crick is similarly villainised and depicted in Ziegler’s play as destructively ambitious. Although, he is not as hungry for fame and his reserve is more tempered, he is more interested in solving the mystery of life than receiving the accolades publication will bring him. His unhappy marriage to Odile (whom audiences never meet) is suggested as a reason why his work becomes so important to him and although he tries hard to balance his work-home life, he is embroiled in Watson’s urgent desire and his family suffer as a consequence. He represents the taxing lifestyle research can bring and, in addition to others in the play, highlights the difficulties within collegial partnerships when fame is the reward. His more sedate character is reflected at the end of the play when he learns his wife has moved out of the master bedroom to separate from him, his allegiance with Watson having kept him from fulfilling his humble desires to ‘support my [his] family’ and ‘to make some small difference in the world’ (p. 77).

His resignation serves as a reminder to audiences not to lose sight of what matters most in life.

Francis Crick Quotes

‘James [Watson] is many things but subtle is not one of them. So you must forgive him, over and over and over again.’ (Crick to Wilkins) p. 40

‘And what is a race anyway? And who wins? If life is the ultimate race to the finish line, then really we don’t want to win it. Shouldn’t want to win it. Should we?’ p. 50

‘Odile has taken the guest room as her own. She moved her things into it slowly, gradually, over the last few months. She was clever. It was only when nothing was left that I realised she was gone.’ (Crick) pp. 77-8

Odile

Odile is Crick’s wife and doesn’t appear in the text except through reference. She tolerates her husband’s devotion to his craft until, over time, they grow apart and she moves into the guest room of their home, symbolising the tax of blind devotion on a relationship.