images for links
||Dan Bacalzo, 9 Nov 2000,
Written as a
four voice poetic drama, the play has some
interesting ideas as well as truly haunting
verbal imagery. There are references to genetic
messages passed on from generation to generation,
whether in the form of a broken nose or a
mother's memory. One character describes herself
as "an emotional plagiarist." Another
tells us that he's a much nicer person now that
he's had an affair, because he realizes that it
doesn't mean anything.
Then, of course, there are the references to
suicide. It is nearly impossible to listen to
these passages without thinking of the
playwright's own self-inflicted death less than a
year after Crave was written. Even while
resisting an autobiographical interpretation, it
is difficult for one to process the hopelessness
and despair of the language.
Kane's worldview is highly pessimistic; there's a
reason why her work unsettled critics. Instead of
hiding behind technology and stylized aesthetics,
a good production of Crave needs to bring out the
disturbing elements of the author's work.
||Les Gutman, Curtin Up, 2000
yourself on a dark street corner in the West
Village. Perhaps the one on Sheridan Square near
Axis Theater's sleek, comfortable home (formerly
the decrepit home of Ludlam's Ridiculous
Theatre). There are four people, apparently two
couples, within earshot. All of them are talking:
sometimes to their putative partner, sometimes,
it seems, to no one in particular, or perhaps
it's to anyone who will listen to their anxious
expressions of what sound like yearning or
We all succumb to the
temptation to eavesdrop like this. It's usually
brief, and we have to rely on our imagination to
fill in the blanks: to wonder a bit more than we
need to about these people, what's going on in
their lives and in their minds. An older (but not
old) woman and a younger man; a younger woman,
and an older man: what's their story? who's in
pursuit? what baggage do they carry with them?
Now imagine that serendipity steps in, and these
conversations coalesce in a strikingly poetic
way, a fantasia of love, lust, pain, humor,
sadness, hope, resignation.... What we hear
remains random, much as what we see in their
faces is obscured by shadow.
This, roughly, is the nature of Sarah Kane's
luxuriously dark Crave.
||Deborah Harry and
Blondie Tribute Site
The characters speak at times
completely disparate of each other, at other
times supportive and questioning of each other,
and again at times seeming to act as different
aspects of each other's personality - polar
opposites whose words and thoughts act as the
male and female sides of one entity.
The most moving monologue is also the
least bleak, providing the only relief from the
darkness of the rest of the play... character A
describes his feelings of adoration for an
un-introduced woman. The woman has enriched his
life and fills his every waking moment, she is
everything to him and he aches and longs for her,
only to find torture in the fact that he is
unable to relate his feelings and the woman
ultimately leaves feeling rejected.
(click on Collaborations
and Filmography then Review
||Colin MacLean, Edmonton Sun,
16 August 1999 (link has gone-
closest approximation is to a string quartet. The
words are delivered with a rhythmic pulse as if
director Kevin Williamson used a metronome in
putting it together, increasing and decreasing
the tempo, turning up the intensity.
||Riva Harrison, Winnipeg
Sun, 8 July 1999 (link has gone-
sloppy review of the play, by someone who does
not understand notation for stage
directions, Would she have reacted to
"four actors who talk like this
This Sarah Kane play does not involve
a linear plot. Or have discernible characters.
Instead, it features four actors who. Talk. Like.
This. In quick alteration. Sometimes they speak
in full sentences. Often. In. Single. Words. Or
The result is a lyrical piece full of imagery of
love, loss, longing. And. Other. Profound. Stuff.
Sometimes humorous. Also serious.
||Ken Urban (link has
attended a memorial reading of Crave at
New Dramatists after her death, the artistic
staff and her fellow playwrights, especially
Eduardo Machado and Paul Slee, spoke passionately
of Kanes energy, her relentless humor and
her commitment to the art of theatre.
is full of wry, sardonic psychiatric observations
like You look reasonably
happy for someone who's not
or sounding like Oscar Wilde The
outside world is vastly over-rated.
Crave is full of revelations of the psychiatric
kind like although she
cannot remember, she cannot forget
or Kane's pithy description of herself as Emotional
plagiarist, stealing other people's pain.
||British Theatre Guide,
1998 Fringe Reviews 9
very tightly written, each speaker being almost
like an instrument in a piece of music, each one
following its own line but all coming together at
climactic points throughout the piece. At times
there are "solos", as a character
speaks at some length; but much of the time the
speech switches from one to the other...This is
the first time that Sarah Kane's work has been
seen outside of London. It should not be the
Greco, Online-Observer, 28 Feb 2002
One could conclude that
M represents one person and that A, B and C are
the conflicting voices within M's head...
characters' movements are perhaps the most
intriguing part of the show and credit must be
given to Hoffmann who, without direction from the
playwright, created it all. Bodies merge and
separate, collapse and entangle, charge through
the audience or cower in corners, as the mood