4.48 Psychosis is back

I’m rather delighted that not only is my design for 4.48 Psychosis featured in the SBTD‘s exhibition Staging Places: UK Design for Performance, currently at the V&A Museum, the production itself is also being revived. A huge, sell-out success last year, Deafinitely Theatre‘s bilingual production will soon be in London, Derby and Cardiff, with a new cast but the same design. You can book tickets here, but do hurry up as they’re selling fast.

On the other hand, there’s plenty of opportunity to see the exhibition. It’s been extended till March. I shouldn’t praise it too much, as I had a small role in the team that put it together, but I can safely say I’m very pleased indeed with what we achieved. I wrote about it previously here.

Finally, there’s an amazing Staging Places website that has been created as a kind of online gallery to accompany the exhibition. My page on it is here but it features a lot more designers, in addition to those of us in the physical exhibition. It’s definitely worth spending some time with.

Designing Deafinitely Theatre’s 4.48 Psychosis

We’ve been getting some very enthusiastic responses from audience members for our production of Sarah Kane’s 4.48 Psychosis, and some great reviews, so I thought it might be worth sharing some thoughts on my design process.

The play is hard to read on the page: hard in two senses of the word. It’s gruelling emotionally but also abstracted, opaque, fractured and ambiguous. It’s constructed from fragments of naturalistic dialogue, inner monologue and poetry, all shored up into a kind of barrier against obvious interpretation. The author’s own distressing experiences are rendered into a set of cyphers that hide her personal truths from the people watching, reading or making a performance of the play. The temptation, therefore, is to try to find the key to unlock the code and expose her original meanings, but this seems to me to be a pointless – and impossible – quest. Instead, each production should create its own key, and decode these fragments into a new set of meanings that resonate for the artists involved. That’s very much what happened here, with director Paula Garfield’s emphasis on two overlapping crises of mental health – one amongst the deaf population and one amongst men – and the communication failures and lack of comprehension that exacerbate them. Continue reading “Designing Deafinitely Theatre’s 4.48 Psychosis”