Review: PBS's MERCY STREET is Chilling, Captivating Look at Civil War Women

With the sixth and final season of beloved British import DOWNTON ABBEY quickly coming to an end, PBS is hoping to hold onto the fans of the early 20th Century soap with new historical drama MERCY STREET. The Civil War hospital series debuted Sunday night after the third installment of DOWNTON's nine-episode season, but beyond their proximity on the network's schedule, the two period dramas have little in common; but that's not a bad thing for either show. Where DOWNTON is mostly a light-hearted look at a wealthy English family and the people who serve them, which only occasionally delves into significantly dramatic fare, MERCY STREET is a bone-chillingly authentic look at one of the most traumatic times in American history that has only momentary flits of humor.

Based on true stories that happened in and around the Mansion House, a Union Army hospital in Alexandria, Virginia, MERCY STREET walks a tightrope delivering engrossing character studies, intriguing thrills, and graphic depictions of the horror of war. The story opens with the inexperienced Mary Phinney (Mary Elizabeth Winstead) receiving an unlikely commission to be the first head nurse at Mansion House, despite the more experienced Anne Hastings (Tara Summers), a former colleague of Florence Nightingale's, desperately wanting the job.

When Phinney arrives at the hospital, she finds it in complete chaos. Condescending military doctor Byron Hale (Tony-winner Norbert Leo Butz) is efficient with his care, but shows little regard for the soldiers' comfort, while civilian contractor, Dr. Jed Foster, played by Josh Radnor (HOW I MET YOUR MOTHER, Broadway's DISGRACED) spends his time administering cutting-edge treatment, often to Hale's admonishments.

The medical aspect of the show is compelling, if not at times gruesome. From bullet wounds to infections to amputations to Post-Traumatic Stress Disorder, the grizzly reality of war is a constant specter looming over each character. While the graphic nature of these scenes can be shocking, it is never used as a cheap shortcut to elicit reactions. The gore, and the pain and fear that accompanies it, is always handled as a genuine way to examine the impact of war, and in turn death, on those that witness and administer to it.

While much of the press build-up has been around Radnor's post-HIMYM return to television, to its credit, the show focuses primarily on a collection of strong, independent women who find purpose, in one way or another, in Mansion House. Winstead's Phinney, a devout Abolitionist, is the heart of the show, but newcomer Hannah James provides a strong Confederate balance as debutante Emma Green. Before it was seized by the Union Army, the Mansion House was a luxury hotel owned by Emma's parents, Tony-winner Donna Murphy and Gary Cole. Despite their wishes, Emma is drawn to the hospital and inexplicably inspired to help care for the injured rebel soldiers before they are sent to a military prison.

(Click here to read my interview with MERCY STREET's Donna Murphy)

Phinney and Emma come to nursing for very different reasons, but both are dedicated to fighting for what they believe in. From the beginning, the two share an antagonistic relationship, as each is solely concerned with caring for "her boys," but as time progresses, they develop an obvious, begrudging respect. These two actresses both give extremely nuanced and affecting performances. Winstead's Mary is intelligent and capable, but also ill at ease and ill prepared for what she is undertaking. Green's Emma is both naïve and resolute, but always seems to have an unquenchable fire burning inside of her.

Throughout the season, a number of superfluous storylines eat up airtime, and while all are handled well, the narrative is at its best when it is focused on these two nurses. If series creators Lisa Q. Wolfinger & David Zabel had pared down the number of stories in the season, the end result would have been even better than it already is.

One of the most powerful ancillary storylines centers on freed former slave, Aurelia Johnson (Shalita Grant), who is now working at the hospital. Despite being emancipated in Union-held Alexandria, it is clear that Aurelia still longs for legitimate freedom. She is forced to compromise in every imaginable way just to achieve some semblance of hope.

AnnaSophia Robb plays the younger Green sister Alice, who at first appears childish and unaware of the serious nature of her family's situation, but as the season progresses, grows to become a thoroughly enthralling addition to the narrative.

Brad Koed, Cameron Monaghan (SHAMELESS), Jack Falahee (HOW TO GET AWAY WITH MURDER), and McKinley Belcher III all turn in strong performances throughout the season as well. Murphy and Cole are only briefly featured in the premiere episode, but the Greens become more central to the story as the weeks go on.

The meticulous cinematography, design, and direction all go a long way to create a feature film-worthy look and feel to the entire six-episode season.

While MERCY STREET will likely appeal to many of DOWNTON ABBEY's fans, it won't be because it piggybacks off of the British series' tone or stories. Instead, MERCY STREET is a chilling and captivating look at an era in our nation's history that often is portrayed as a black-and-white morality tale. However, the series takes great care to provide a unique, nuanced representation of the Civil War stories that are often left untold.

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Will MERCY STREET take over DOWNTON's spot on your Sunday TV lineup? Let me know in the comments below, or on Twitter @BWWMatt. If you want to follow along with my "366 in 366" articles, you can check out #BWW366in366 on Twitter.

Banner Image: Josh Radnor and Mary Elizabeth Winstead. Photo Credit: Antony Platt | PBS

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