Currently running at the Royal Court Theatre until July 5, the much-anticipated revival of Sarah Kane’s ‘4.48 Psychosis’ once again plunges audiences into a mind gripped by despair. Three characters offer a chilling glimpse into the inner turmoil of an unknown protagonist grappling with depression, self-harm, and suicidal ideation.
Returning with its original creative team, including director James McDonald, and cast members Jo McInnes, Daniel Evans and Madeleine Potter, it’s as if the play has taken one deep breath since its first staging in 2000. Despite its growing distance from Kane’s passing in 1999, it remains as raw and relevant in its new iteration.
Four flights up in the Jerwood Theatre Upstairs, the anticipation before the show is palpable in the dark, intimate space. Designer Jeremy Herbert’s large, angled mirror hangs above the stage, reflecting back the audience as you prepare to look deeply into humanity. McInnes, Evans, and Potter take their places on stage, and after a long pause, begin their roles as a collective inner monologue, hoping to find clarity by 4:48 a.m.
The three shift slowly around the simple set, composed of one table and lonely chairs, and increasingly use the mirror to create striking reflections of themselves that face the audience. Slumped misery quickly shifts to flailing limbs and rageful faces, which, in combination with striking lighting by Nigel Edwards and projection from Ben Walden, perfectly match the harsh switches of the protagonist’s mind.
“Plunges audiences into a mind gripped by despair”
There is no plot to the play, just a poetic but fragmented monologue of the self-loathing, doctor’s visits, and internal conflict that comes with depression. The inner arguing was performed flawlessly, with Evans gliding seamlessly through roles as patient, doctor, and observer, matched by Potter’s fierce displays of anger and McInnes’s gravelly calm.
Potter sent chills down my spine as she writhed on the table, frothing at the mouth while hurling shocking threats. Yet the trio managed to remain connected, matching one another with smooth, inquisitive questions and dry, dark humour, as though speaking with one confused mind.
The play has a 70-minute running time, which feels like both a blink and an eternity. At the end, Potter opens the window to the right of the stage, flooding daylight into the room. It’s a decisive ending, wrenching you out of the scene and back to reality. A literal light at the end of the tunnel.
The play is a psychological horror with a sliding scale of relatability, making it both cathartic and uncomfortable, and likely divisive. The authenticity is extremely raw, and while the content warning should not be overlooked, it is a timeless and important work. Despite being a striking performance, it also stands strong in written form, so it is well worth reading if you can’t secure a ticket.
NEED TO KNOW: 4.48 Psychosis will move on from the Royal Court Theatre to The Other Place, Stratford-upon-Avon, from the 10th to the 27th of July.
