cleansed

Photo: Almeida Theatre Instagram

The entire company of this production of Sarah Kane's most discussed play should consider this to be some of their best work, if not their best. I have never seen a production in which every single element of what makes a stage play is so well tuned to the crux of the script. Rebecca Frecknall has tapped into exactly what this play is about, and reached the extent to which you can explore both love and fear through staging it. Past criticism of this play includes the gratuitous violence that permeates every second of this play and leaves a lasting effect on it's audience and I'm sure it's cast, but Frecknall has carefully and sensitively decided against directly showing us the worst of the horror, allowing us to stay engaged for the entire hour and forty minutes.

Every performer holds their own in this production. Part of Frecknall's strength as a director is her strength of vision for her production which is obviously communicated with crystal clarity to everyone in her team. I have found in my own work that any slight weakness in the strength of your vision for your production will be felt by your cast and will hinder their performance. Leo Bill as Tinker doesn't just play the deranged psychopath. There is so much weariness and self-hatred that I saw him as as much of a patient of the institution as anyone else and as a contrast to Stuart Thompson's youthful, bashful and naive Robin you again see Frecknall exploring the contrasting powers in this play. There is no doubt in these performers' minds of their place in this story and how they all work together to build a world and convey a message. Of course, I still think everyone will take something different from this production, but that is part of the play's message. Every performer shows such vulnerability, giving themselves to their character so fully and their bravery in doing this reminded me why I feel that theatre is the most powerful creative medium.

This production is incredibly visually striking with both beauty and horror. All the design elements of this production perfectly matched and harmonised with the performances in this production. The play opens with Madeleine Girling's intimate rectangular set depicting what might remind you of a morgue mixed with an operating theatre, and expands as the horror intensifies to counteract it with a field of flowers and brighter lighting which the characters frolic in even in their pain. The juxtaposition at crucial moments of intense visual horror with joyful, upbeat music only increases the horror and makes it much more sadistic. George Dennis' sound design is unbelievably jarring and it seemed to me that the choice to use sound so heavily gave Frecknall had much more freedom in the violent moments; had the soundscape been less powerful, they would have had to rely much more on the visual for the same effect on the audience. Since this is one of the most repeated criticisms of this play, I am very impressed by Frecknall's response to this.

This is the show to see if you have any doubt that theatre can be powerful, intense and bold. It is rare to see such controversial work get staged and it is great to see an incredible female director take on this challenge. As long as you feel able to watch the more triggering parts of the action, I would recommend this show to anyone wanting to see Good Theatre.