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more: performances 2002-2


4.48 Psychosis in UK

4.48 Psychosis 4.48 Psychosis 4.48 Psychosis 

4.48 Psychosis was performed as a postgraduate director's course drama school production with 2 professional actors (one male, one female). It was on at the Mountview Academy's Judi Dench Theatre, London on 10-11 May 2002.

The director is Adam Barnard and the actors are Mark Farrelly and Caroline McKeating.  Music by Peter Michaels.

The original intention of director Adam Barnard was "The theatre is a black box with no seats - the audience move around from one part to another, as if at a gallery viewing installation work. Their movements are sometimes be controlled through cordoning off area and creating spaces within the space"

but "... the course of rehearsal altered every aspect of the production. The actors don't move about an open space and we didn´t cordon off the audience and make inset spaces or any such glamorous stuff, simply because it didn't work. We found that the text wanted a tangible divide between performance space and audience space. Definition of who what where etc is turbulent enough as it is, and I think clear demarcation between audience and performer is actually very important, as are distinctions of light and dark. The play must talk to the audience and make them witnesses, but it must never implicate them. We found it best to treat the audience as the only people, apart from the 'characters', who understood what Dr This and Dr That were really like, who had a hope of, if not feeling, at least understanding, the psychosis.

4.48 Psychosis What can I say about it? We used two actors (Mark Farrelly and Caroline McKeating) who could become aware of each other in the space and sometimes, however fleetingly, interact.

The setting was simple and largely black - a raised ledge at the back which actors stood on, lay on or hid under, a single chair, a filing cabinet, two torches that stayed on inside the cabinet giving it an unearthly glow, a dictaphone, a notepad, some chalk to write on the walls. They were two characters going through separate journeys who took turns to play the doctor or lover so the other could show the audience their predicament. By the end, people said, the two began to seem two fragments of one persona. Between sections the actors shared more abstract movement reflecting an intangible complicite with each other.

Lights (by Stuart Crohill) provided simple, strong pools of colour which ebbed away to stark white by the end. Music (by Peter Michaels) was more a soundscape of noise and effect than anything with a humable tune".

Thanks to Adam for the photos and the text.


Crave and 4.48 Psychosis premiere in Turkey

Suffering (Kývranýþ) was a two play project: Crave (Tutku) and 4.48 Psychosis (Psikoz 4.48) .  It was performed by a Turkish group as part of the 13th International Istanbul Theatre Festival.   The actors were Payidar Tufekcioglu, Esra Bilgin, Emrah Elciboga and Derya Alabora and the director was Emre Koyuncuoðlu.  Crave premiered on 23 May, and 4.48 Psychosis on 24 May 2002.


Crave in Canada

Crave in Canada Crave in Toronto, Canada from 23 May to 1 Jun 2002.  It was produced by the Graduate Centre for Study of Drama at the University of Toronto. Crave in Canada

Directed by Sam Stedman, with Michael Devine (A), Kevin Rees-Cummings (B), Kelly Rico (M) and Tamila Zaslavsky (C).

Dramaturg Joanna Falck Assistant Director Eszter Jagica
Movement Coach Elena Kaufman Set Designer Kessa Laxton
Assistant Set Designer Claudia Kada Lighting Designer Scott Hill
Costume Designer Jennie Green Projection Designer Bruce Barton
Production Manager Vanita Butrsingkorn Stage Manager Devin Upham
Assistant Stage Manager Natalie Papoutsis

Crave in Canada

"The audience entered into the rectangular studio space after being instructed that they were free to explore the space throughout the show and that sitting down was to be avoided unless necessary. The space was divided into two halves by a diagonally positioned scrim (with enough room on each end for people to cross the scrimline), onto which was projected images and fragments of the text (via 4 slide projectors). Unfortunately, the resources at our disposal did not entirely fulfil the initial concept, which was that the scrim would be opaque for a large portion of the show, thus frustrating the audience's attempts to visually apprehend everything at once (Kane never struck me as a big fan of Aristotelian perspicuity...).

Due to the short throw distance from the projectors to the scrim, we had to get enormous lenses for the projectors that diffused the light such that the scrim took on a ghostly translucence. On each side of the scrim was a bed structure.

One side of the scrim was occupied by A&C, the other by B&M. The blocking on each side often paralleled that of the other side, with sharp breaks in this parallelism to emphasize particular moments. There was also a microphone and a dictaphone on each side of the scrim, the former used for the longer pieces of exposition (prior to A's long monologue), which were played in various personae. This first third of the text (the monologue and short screams divide the text into almost perfect thirds) was both the most realistic and the most divided. The actors did not physically transgress the border marked by the scrim in this section, but sometimes ambiguously communicated through the scrim, and sometimes spoke to individual audience members. During A's monologue the projections were faded out and a video of the actor playing A was projected as the real actor emphatically delivered the monologue on the microphone, competing with a pre-recorded version of the monologue spoken with a deadpan voice played by C on the dictaphone, which she held up to the scrim, while B held the other microphone up to the other side of the scrim, thus amplifying the recording.

Crave in Canada Immediately after A's monologue the energy changed. C went immediately to the microphone and delivered her next line, "It's getting worse," in a deadpan fashion, while A crossed the scrimline to join B&M. This middle third of text consisted of deadpan lines delivered on the microphone juxtaposed against the strong emotions of the actors not on microphone (i.e. A's "HOW CAN YOU LEAVE ME LIKE THIS"), generating a rather disconcerting effect.

This section included a number of scrim crossings (the first step toward the breakdown of the metaphorical spatial divisions of the stage). Shortly before the short screams, the actors chaotically deconstructed the beds, which transformed into four compartments that they erected. The screams, and the yes and no sequence that precedes it, were performed from inside these compartments as the scrim was slowly raised up.

The final third of the text was performed primarily as a monologue divided into four voices (although not exclusively). The blocking of this section was mostly symmetrical and completely anti-realistic. The final image involved each of the actors perched inside their compartments, completely isolated, with an anaesthetized numbness about them, after about 30 seconds of which a loop was played on the dictaphone which became increasingly distorted. After another 30 seconds, the doors were opened and the audience eventually filed out of the space. The interesting thing was the audience response. The usual response was applause, although it always took one brave person to lead the rest, since there was no conventional curtain call. But on a few nights, the audience didn't applaud, but rather circled the compartments like vultures, naturally forming two circles, one moving clockwise, the other counter-clockwise (it looked choreographed!). On another night, the audience laughed - but not a normal laugh (I simply can't describe it) - that was by far the strangest response.

On the whole, it was a somewhat cold and alienating experience for the audience (or so I've been told), yet some spectators were deeply moved within the context of that alienation. My favourite response was from my aunt Laura: "Sam, it was like being held down and forced to drink a bottle of drain cleaner." Then she promptly thanked me for the experience."

Thanks to Sam for the text and the photos.  More photos are in the photos section.

Crave in London

Sarah Kane Crave

A production of Crave at Goldsmiths College, London  30, 31 May and 1 June 2002.

The actors are Gabrielle Lurje (M), Gavin Molly (B), Lindon Alexander (A) and Charlotte Hoare (C).  There are two musicians, Orphy Robinson and Roger Goula.  The director is Filomena Campus.


"An original staging: the play opens with musician Robinson playing guitar on the stage.  Then the actors, sitting scattered in the twilight among the audience (arranged A, C, M, B) speak.  The closeness of the actors, part of the audience, brings out the rhythm of Kane´s work, each line picked up by another actor.

The music continues, sometimes accentuating the emotion.  When B says El dinero viene solo the guitarist corrects the accent.  An African drummer joins the play, the sounds from the wings "like rats feet over broken glass" (T.S. Eliot).  A scene in total darkness works, because the twilight has prepared the audience.  And the actors slowly make their way onto the stage.

M uses her hands in subtle ways - the strands of the play accumulate - the audience start to laugh at the jokes - the characters of A, B, C and M begin to emerge - the sadness bites - happy and free"


Cleansed in Norway

Sarah Kane Renset- Click here for details Cleansed (Renset) performed by Den Nationale Scene, in Bergen Norway.  It was part of the Festspillene i Bergen on 22-25 May 2002 and was revived from 7 Sept- 19 Oct 2002.

The players are David Allen, Reny Marie Gaasand Folgerø, Øyvind Gran, Petter Width Kristiansen, Elisabeth Lahr, Kim Sørensen and Bjørnar Teigen with Anders Paulin directing.


Crave in Singapore

Sarah Kane Crave in Singapore The Theatre Studies Programme of the National University of Singapore staged Crave, as part of the Late Nite Series of the Singapore Arts Festival 2002

It was on 21-22 Jun 2002 at The Room Upstairs.


Cleansed in California

Cleansed by Sarah Kane Cleansed performed in The Empire Theatre, Santa Ana, California from 14 Jun- 7 Jul 2002.  The West Coast premiere. Its by the Rude Guerrilla Theater Company, and is directed by Dave Barton.

The cast are Larissa Tidwell (Grace), Scott Caster (Graham), Jay Fraley (Tinker), Scott Barber (Robin), Bryan Jennings (Rod), Stephen Wagner (Carl) and Molly Dewane (woman).

Site visitor Steve Omlid says (thanks Steve)

"... a superb production of Cleansed (the play’s United States West Coast premiere) now onstage in Orange County, produced by the Rude Guerilla Theater Company. Director Dave Barton (Rude Guerilla’s artistic director) uses great theatrical ingenuity to transcend his company’s modest budget and solve the many staging challenges that the play presents. But, even more importantly, his production stays sharply focused on the beauty behind the horror in the play. Barton and his collaborators understand Kane, and they do her honor.

Sarah Kane Cleansed

Cleansed takes place in a somewhat oblique setting (Kane calls it “a university”, but frankly, if I were in this university, I’d want to be expelled) that functions mainly as a torture house. It is presided over by Tinker (played in the Rude Guerilla production by Jay Fraley), a self-described “doctor” (he wears a white coat and everything) whose chief business is to brutalize and even kill his “patients”. These folks include Grace (Larissa Tidwell), who shares an incestuous love with the ghost of her brother Graham (Scott Caster), a heroin addict who Tinker murders in the play’s first scene with an intentional overdose shot into his eye; Robin (Scott Barber), a delicate boy who exchanges clothes with Grace and then falls in love with her; and Rod and Carl (Bryan Jennings and Stephen Wagner), a gay couple who pay a horrible price for their relationship.

Sarah Kane Cleansed

Tinker savages these folks physically and mentally, but it becomes apparent quite soon that he, too, is in terrible pain. (One of the most powerful ideas in the play is that brutality destroys the brutal as well as the brutalized.) His scenes with a peep show dancer (Molly Dewane) reveal that he is even needier than his victims are. And Kane regards him with just as much compassion, and gives him the same capacity for redemption through love.

...Barton’s production of Cleansed that really made me re-examine my earlier take on Kane’s work. As arresting as the stylized images of brutality are in this production (a special nod should go to puppeteers Peter Balgoyen and Katarina Yeo, who effectively realize the aforementioned rats), I think what I’m going to really remember are the gentler moments, especially the three scenes of graphic but exquisitely tender and intimate lovemaking. (And yes, that’s what Kane calls it in her stage directions, “making love”, not “having sex” or “fucking”.) As focused as the work by the uniformly first-rate cast is throughout, and as fiercely committed as they are to the violence and ugliness in the play, it is undoubtedly in the play’s most loving and beautiful moments where their work is the bravest."

Premiere of Crave in New Zealand

Crave in New Zealand

Crave had its New Zealand premiere in Wellington from 4 July 2002.

The players were Carey Smith, Eve Middleton, James Stewart and Tina Helm, with direction by David Lawrence, and presented by The Bacchanals.

Crave in New Zealand


Phaedra's Love in the USA

phaedras love- click for link Infernal Bridegroom presented the regional premiere of Phaedra's Love from 19 Sept 2002 in Houston, Texas.

The director is Jason Nodler and Troy Schulze plays Hippolytus and Tamarie Cooper plays Phaedra. Anthony Barilla provides an original score.


Crave at the Edinburgh Festival

Failbetter Productions (formed from Warwick University theatre graduates) performed Crave at the Edinburgh Fringe Festival from 1-25 Aug 2002 at The Underbelly.


Crave "one of the most coherent texts about despair in the modern world" Crave

Site visitor Ana says (thanks Ana )

"There were two productions of Crave in Edi this year, and I saw the one at the Underbelly (Warwick University theatre graduates).

For one thing, I thought the actors were just too young - I know it's not their fault, but I just couldn't buy into a 20 year olds saying some of those lines (M really wanting a child, for example). They weren't *bad*, but they weren't exactly good enough either. The four of them were facing the audience, not really moving so in that sense not completely dissimilar to the original production (although two were at the front, C and B I believe, and A and M were behind them). The symbolism of the props - A holding a rosary - I found somewhat heavy handed, ditto broken glass in the middle of the stage.

I also had a feeling that the delivery was teeny-weeny too quick. I know this play is about language, and about rhythm and meaning through rhythm and not about letting the audience to dwell on every line for hours, still, I had a feeling that everything was just that much too fast. It didn't get one laugh for example - OK that might have to do with the audience, but is the Royal Court audience really that different? Because every time I saw it at RC people would laugh - there are some killer lines in Crave, bleak humour Kane style... I think that's a mistake for the director to disregard the humour, and that's what they effectively did here: the friends I saw it with (who were not familiar with the text) said something along the lines 'we noticed some of the lines were funny, but by the time the humour would register, the moment would be gone'."


Another Crave at the Edinburgh Festival

Venue 13 also had their version of Crave at the festival from 2-17 Aug.


Phaedra's Love in Belgium

Theatre company De Smedt performed Phaedra's Love in Kunstencentrum Nadine, Elsene, Belgium from 30 Sept to 5 Oct 2002.

The players are Marij De Nys, Hendrik De Smedt, Thibault Pringot and Eline Kuppens, the tanslation is by Wim Lots and the director is Matthias Dusesoi.

De teksten van de Britse theaterauteur Sarah Kane, op het eerste gezicht louter gewelddadige, bloedige tijdsdocumenten, zorgden bij hun eerste opvoering al meteen voor controverse, later nog versterkt   door de vroege zelfmoord van de auteur. Nu de sensatie rond de persoon Kane   en haar werk wat geluwd is, willen de jonge theatermakers van Tg. NUN de   tekst zelf laten spreken.
Phaedra’s Love is een tekst over iconen, integriteit, liefde en de honger naar kicks. Koningin Phaedra is stapelverliefd op haar stiefzoon Hyppolytus en pleegt zelfmoord wanneer hij haar afwijst. In Kane’s hedendaagse versie van dit klassieke verhaal krijgt Hippolytus’ levenshouding een centrale rol toebedeeld.

Dès leurs premières représentations, les textes  de la dramaturge brittanique Sarah Kane, à première vue des documents violents  et sanglants illustratifs d’une époque, étaient déjà l’objet de controverses.  Leur renommée grandit encore après le suicide de l’auteur. Maintenant que  la sensation autour de sa personne s’est un peu calmée, les jeunes gens de  théâtre néerlandophone de Tg. NUN veulent donner la parole au texte même.     
Phaedra’s Love est une pièce qui parle d’icones, d’intégrité, d’amour et de la chasse aux stimulants. La reine Phèdre brûle de passion pour son beau-fils Hyppolyte et se tue quand il la rejette. Dans   la version contemporaine de Sarah Kane de cette histoire classique, l’attitude   de Hyppolyte joue un rôle central.


Blasted student production in London Crave at the Edinburgh Festival

A student production of Blasted at Goldsmith College, University of London, from 23-25th Oct 2002.


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