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Crave/4.48 Psychosis, 
Crucible Studio

Blasted, the first play in the Sarah Kane season, was full of violence, sexual assaults and cannibalism.

Her final plays are no less challenging but easier on the stomach.

In 4.48 Psychosis, named after the time when many are awoken by their darkest thoughts, three actors take on different roles as people in the depths of mental torment and professionals treating them.

There is no plot, but rather intercut short scenes and solo speeches.

The actors move around a spare set and scenes take place in seemingly random places. This underlines the unbalance and disjointedness felt by someone who can’t see the point of living.

Sarah Kane’s struggle with her own mental health, which ended in her suicide after she finished the play, gave her an acute insight.

It’s too simplistic to regard this work as a suicide note. It’s too beautifully written for that.

Kane also gives glimpses of how people can get better with help.

In Crave, Christopher Fulford joins Rakie Ayola, Pearl Chanda and Tom Mothersdale from Psychosis for a searing look at love and longing.

The actors stand side by side and pour out joys, grief, anger, bitterness and agony. Some dialogue appears to be between characters but the audience are never sure.

The actors draw the audience in for a breathtaking game of emotional tennis that is utterly absorbing. An exciting debut by new Sheffield Theatres associate director Charlotte Gwimmer.