MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
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‘You’re dead to me’
Tinuke Craig’s direction makes a satisfying whole of the characters’ solitary and disjointed language, writes Jan Woolf
Erin Doherty and Wendy Kweh In Crave At Chichester Festival Theatre
[Marc Brenner]
PAUL DONOVAN recommends the fine performances in this account of the pre-war meeting between the US president and the British king
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To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
Crave
by Sarah Kane
Chichester Festival
THE play begins and concludes with the line: “You’re dead to me.” It is also in the middle of this 50-minute piece from the darkly poetic Sarah Kane, who took her own life in 1999 aged 28: a fact usually known by audiences.
“You’re dead to me” is aimed at a character who may have raped, abused, or spurned (we’re never sure of the relationships between C, M, B and A). But I wondered if it was Kane-talk, the you and me of a divided self.
The reviewer should concentrate on the play, not the writer’s psyche, yet in her work they’re integral, and audiences might look for clues to the suicide; most of them content in their own core personalities.
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