How on earth do you award aesthetic points to a 75-minute suicide note? The question comes from a review of 4.48 Psychosis’ inaugural production, the year after Sarah Kane took her own life, but this book explores the ways in which it misses the point. Kane’s final play is much more than a bizarre farewell to mortality. It’s a work best understood by approaching it first and foremost as theatre – as a singular component in a theatrical assemblage of bodies, voices, light and energy. The play finds an...
