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4.48 Psychosis review at Lyric Hammersmith – ‘startling and immensely moving’

Clare Presland, Gweneth-Ann Rand and Lucy Schaufer in 4.48 Psychosis at Lyric Hammersmith. Photo: Stephen Cummiskey

Philip Venables defines himself as a composer concerned with sexuality, violence and politics. For his ambitious new work, he has secured the rights to turn Sarah Kane’s final play into an opera.

The play’s own history – it was completed shortly before the writer’s suicide in February 1999 – will inevitably colour responses to his piece as much as the original work itself.

Kane does not list characters or assign individual lines to one speaker or another. Venables has chosen to set the text for six female singers plus an orchestra of 12 players – here the specialist new-music ensemble Chroma performing under the expert baton of conductor Richard Baker.

Almost nothing has been cut from Kane’s text. The spoken word has regularly been one of Venables’ preoccupations, and here passages are not only sung or spoken but also chanted by members of the cast as a group, or even just whispered or shouted.

Venables’ most startling technical innovation occurs when a doctor/patient conversation is projected on to the set while also being performed purely in speech rhythm by two percussionists. At such moments, the surprising humour hidden in Kane’s text is brilliantly underlined.

Elsewhere, Venables includes manic instrumental interludes – “nasty fucked-up computer game music”, as the score describes them – passages of ‘elevator music’ of the kind you might encounter in a hospital waiting room, and specific references to the Baroque period. The result is a wide-ranging stylistic melange that counterpoints the freewheeling intellectual sophistication and through-the-floor psychological depths reached in Kane’s play.

Hannah Clark’s sparse designs and Ted Huffman’s unfussy production both focus attention on the individual performances, either in solo scenes or in interactions that are virtually choreographic in their detail and expressive power. The six singers do not disappoint in their outstanding contributions to an immensely moving piece.

Verdict
Philip Venables’ operatic version of Sarah Kane’s final play is both startling and immensely moving

Production

Production
4.48 Psychosis
Venue
Lyric Hammersmith
City
London
Starts
May 24, 2016
Ends
May 28, 2016
Press night
May 24, 2016
Authors
Sarah Kane (original play)
Composer
Philip Venables
Director
Ted Huffman
Conductor
Richard Baker
Set
Hannah Clark
Lighting
DM Wood
Sound
Sound Intermedia
Costume
Hannah Clark
Video
Pierre Martin
Technical
Sarah Crabtree (senior producer), Laura Rushton (costume supervisor), Alix Ross (technician), Thomas Thompson (technical manager)
Stage manager
Olivia Dermot Walsh
Production manager
Jamie Maisey
Cast includes
Jennifer Davis, Emily Edmonds, Susanna Hurrell, Clare Presland, Gweneth-Ann Rand, Lucy Schaufer
Producer
Royal Opera, Lyric Hammersmith, Guildhall School of Music and Drama
Running time
1hr 30mins