4.48 Psychosis - York Theatre Royal

“I cannot f**king go on without expressing this terrible so f**king awful physical aching f**king longing I have for you. And I cannot believe that I can feel this for you and you feel nothing. Do you feel nothing?” A question posed by the protagonist of Sarah Kane’s infamous ‘4:48 Psychosis’ that after last night’s performance in by TAKEOVER theatre company, is regrettably answered yes. Part of TAKEOVER festival that’s invading York’s Theatre Royal from the 14th to the 26th March, this arguably ‘plot-less’ play fails to infect not only the intimate studio it’s performed in but also the unsuspecting minds of anyone brave enough to sit through this disappointing production.

The production charts one woman (rather simply labelled Her) and the inner struggle she fights to find harmony between her mind, body and soul. Taking us on an erratic journey between intimate monologues, deeply frustrated questions and hallucinogenic nightmares, director Rhiannon Jackson has chosen to set this ambiguous play in what seems to be the ward of a mental institution – a rather trite and unoriginal interpretation in my opinion. However, the cohesion of lank, oily hair, blackened teeth and pale skin in the costume design certainly emanates the greasy feel of an institution the production is trying to capture.

A modest thrust stage scattered with irregularly angled chairs bound with bandages and a hospital trolley, are all manipulated at ease by each of the actors but the real eye-catcher is a blood-stained bed suspended not horizontally, but vertically acting as a visually stimulating backdrop throughout the piece. Although the movement around the admittedly small floor space the actors were given was at times repetitive and unimaginative, the acting of Rebecca Beattie and her conscience/soul/inner voice (Shona Cowie), more than make up for it. With an enormous amount of dialogue to grapple, Beattie manages to not only engage (and hold) the audience’s attention, but also captures a raw honesty particularly noticeable in the less pretentious of her confessions. Nevertheless, after over an hour of angry outbursts and an irritatingly permanent grimacing snarl, the musical tones of Scottish actress Cowie, who plays Other, are somewhat welcomed.

The same cannot be said however for the capabilities of Dan Hardy who played a frustratingly pathetic Doctor. His immature appearance, vocal abilities and awkward interaction with not only other actors but props too cause the audience to be more annoyed with him than empathetic. As well as a break down between actor and audience, a relationship between healer and patient is never fully formed either. Indeed, there seems no clear narrative or through line where recurring themes of love or loneliness are touched upon. Instead some dull motifs of physical movement are shared between Her and Other (that is the patient being studied and her psyche) and it is not hard for the audience to draw the connections between them hinted at even more apparently by their similar costumes. A moment of redemption emerges when all three actors participate in a scene where single words (‘slash’, ‘punch’, ‘float’) are repeated list-like on and on until a point of frantic climax is reached and their screeches echo around the studio leaving a delicious awkwardness in the air. Mirrored in a soundtrack of eerie creaks and groans, the unnatural tone of the piece does create an uncomfortable atmosphere amongst the audience which, if performed well, Kane’s work should.

Jackson describes 4:48 as “an honest portrayal of the turbulent nature of mental illness, paranoia, frustration and self-harm” and that is exactly what she gives us. Nonetheless, one of the joys of Kane’s writing is that her ambiguity and vagueness invites deeper interpretation that is not explored to its limits in this particular production. Often labelled as a 75 minute suicide note, the script has endless possibilities that unfortunately, are simply not played with by the TAKEOVER company. If your checklist of an ideal night out at the theatre includes plenty of blades and blood, heaps of unnecessary hand wringing and an abundance of shouting and spitting, then tick, tick tick. If like me however, you’re expecting Kane not just to be performed for Kane’s sake, then keep searching.

4.48 Psychosis' shows at YTR Studio till Saturday 19th March.

http://www.yorktheatreroyal.co.uk/cgi/events/events.cgi?t=template&a=792

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