4.48 psychosis

‘4.48 Psychosis’ is the semi-autobiographical play written by Essex born playwright, Sarah Kane. It was scripted 16 months before she hanged herself in a hospital bathroom, just days after her 28^th birthday in 1999. This amazing contemporary production by the Murdoch University based Mood Theatre, is being performed at the Subiaco Art Centre, Townsend Road, Subiaco until 14^th April. The 70-minute performances start at 8.00 pm.

Sarah Kane was born into a highly religious family, and almost as a revolt she wrote plays about sex, loneliness, reliance, love and relationships. Because of her confused mind, this play is written without specific characters, leaving the director to guide the audience through the turmoil. In all of the other versions of this classic masterpiece that I have seen, the script remained confused, however here the many people in her life are clearly defined and the true depth and quality of the script brought to the fore, being presented with tremendous feeling and emotion. You really get into the skin of the poor tormented young woman.

          A young girl (Mikala Westall) dressed in blue striped winceyette pyjamas, is lying on her bed, madly scribbling in her diary. She looks at the audience and directly asks ‘What would you do?’ As she writes, another young girl (Holly Pritchard), the patient’s loving persona slides out from under the bed. They discuss the good times, and then in an instant a mood swing takes the girl to the dark side. Two men (Steve Carpenter, Harry Platt), again dressed in matching pyjamas, slide from under the bed and start to question the girl’s medical record. She recalls her multiple drug treatments, the electrodes on the head – all part of a recognised treatment for her depression. These men portray the heartless doctors before they become her conscience, her lack of self-esteem, her doubts and her desperate desire to be loved.

        She then sees herself approaching Heaven only to be rejected and find herself at the gates of Hell. Can this poor soul work her way through the problems that surround her?

The audience are left wondering just how mad was she? Or were her ‘caring medics’ far more mad and being totally without love or concern, the real cause for her anguish? As an audience member, one wonders how we would have survived the circumstances inflicted upon the patient. Director, David Moody, and his assistant dramaturg (Hayley Anderson) has taken this group of advanced students and driven them to their limits. The resultant quality is truly outstanding. I have often watched this play and left the theatre practically unmoved. Here the torture of the poor writer’s mind becomes your mind, and you are taken on this rough ride through her miserable last few months.

The stark set (Allison Snell), with heartfelt scribbles on the floor, and a set of dice to represent the gamble of her life. The background sounds (Tim Brain, operator Katrina Johnston) which varied from a soft oboe solo, to the grinding cacophony of her agony. The lighting by Clare Talbot, of warm floods that gave way to the harsh cool spotlights as the mood changed, were operated by John King and Simon Meiri. Kaitlyn Barry sensibly went for the minimal makeup to show the palour of fear, and she had the girls' hair tied back allowing the full facial expressions to be seen.

The acting standard was outstanding by the whole team as they guided us through the suffering and elations of this troubled person. If the cast never act again, they can forever be happy that they have presented such wonderful performances as these. Brilliant.

It is sad that Sarah could not have seen this production, it may have saved her life to know that there are genuine, loving people, unlike the medics and ‘friends’ around her, who could completely grasp her condition and feelings. A tough show to watch, but a ‘must’ for families with a troubled or depressed member. A ‘wakeup’ for theatrical students and actors who think they have reached the peak of their performing abilities. This is something very special.