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Royal Court Theatre CAL PERFORMANCES PRESENTS David Eden Productions, Ltd. and Baryshnikov Dance Foundation present Royal Court Th eatre Wednesday through Sunday, November 10-14, 2004 Zellerbach Playhouse 4.48 PSYCHOSIS by Sarah Kane Cast Jason Hughes Marin Ireland Jo McInnes Director James Macdonald Designer Jeremy Herbert Lighting Designer/Supervisor Nigel Edwards Sound Designer Paul Arditti Casting Director Lisa Makin Production Manager Paul Handley Company/Technical Manager Sue Bird Production Carpenter Stephen Stickler Audio Visual Technician Ian Dickinson Lighting Supervisor Heidi Riley Costume Supervisor Iona Kenrick 4.48 PSYCHOSIS has received generous support from the British Council Th e Royal Court would particularly like to thank Simon Kane and Mel Kenyon. First performed at the Royal Court Jerwood Th eatre Upstairs, Sloane Square, London on 23 June 2000. Th is performance has been made possible in part by members of the Cal Performances Producers Circle. Cal Performances thanks the William and Flora Hewlett Foundation, Th e Wallace Foundation, and the Zellerbach Family Foundation for their generous support. 33 CAL PERFORMANCES PROGRAM NOTES In the course of a tragically short career—having committed suicide in 1999 at the age of 28— Sarah Kane wrote five plays: Blasted (1995), Phaedra’s Love (1996), Cleansed (April 1998), Crave (September 1998) and 4.48 Psychosis (2000). Of these, 4.48 Psychosis sees the ultimate focus of her work. In it she continued her transcendent mapping of the darkest internal landscapes: violation, loneliness, power, mental collapse and, almost always, love. Through her plays, the struggle of the individual to remain intact moves from instances of civil war to the dynamics of family, the dynamics of couples, and finally into the mind itself in 4.48 Psychosis. “And my mind is the subject of these bewildered fragments,” the play’s voice tells us. Even so, we should pause before assuming whose mind drives the play. Readers and audiences should be cautious about conflating the life of any author with the action of their work. It is true that Kane wrote this play while affected by depression sometime before her suicide in 1999. It’s also true35 that the body of Kane’s work studies the fluid and problematic qualities of the self and transformation. But it’s prudent to remember 4.48 Psychosis that in order to succeed as an artwork the play has to be more than the mind of the playwright. demanding the impossible of his apothecary: Its purpose is to involve the audience, and as “sweeten my imagination.” such, to bring the audience to recognize the very Those trapped in the regions of the mind transitive qualities of all minds. explored by 4.48 Psychosis rarely have the voice Kane’s long-time collaborator, James to tell others about their condition—either Macdonald, helped to bring 4.48 Psychosis to the because of physical or cultural limitations. Sarah stage in June 2000 at the Royal Court Jerwood Kane’s exploration of this area as an artist was Theatre Upstairs. As director, he decided to split a generous, even heroic act. Her contributions the play’s single voice into three, consisting of to theatre were significant and will be well two women and one man. The three voices partly remembered. represent the division of an individual into the three personas that Kane continually visited in her work: victim/perpetrator/bystander. In her hands, these three figures serve as an honest and compassionate anatomy of the human experience of pain. The voice of the play, led through therapy and endless medication, neither of which is able to alleviate the suffering, talks to the doctor with a sardonic wit. In his preface to “Sarah Kane: Complete Plays,” David Greig likened the dark comedy in the description of the drugs and their negligible effects to Lear on the heath 34 CAL PERFORMANCES ABOUT THE ARTISTS Th e English Stage Company at the Royal Queen of Leenane. Court opened in 1956 as a subsidized theatre Since 1994 the Royal Court’s artistic producing new British plays, international plays policy has again been vigorously directed to and some classical revivals. fi nding and producing a new generation of Th e fi rst artistic director, George Devine, playwrights. Th e writers include Joe Penhall, aimed to create a writers’ theatre, “a place Michael Wynne, Nick Grosso, Sarah Kane, where the dramatist is acknowledged as the Anthony Neilson, Jez Butterworth, Marina fundamental creative force in the theatre and Carr, Phyllis Nagy, Martin McDonagh, where the play is more important than the Ayub Khan Din, Conor McPherson, Simon actors, the director, the designer.” Th e urgent Stephens, Richard Bean, Roy Williams, Gary need was to fi nd a contemporary style in which Mitchell, Rebecca Gilman, Christopher Shinn, the play, the acting, direction and design were Kia Corthron, David Gieselmann, Marius von all combined. He believed that “the battle will Mayenburg, David Eldridge, Zinnie Harris, be a long one to continue to create the right Enda Walsh, Roland Schimmelpfennig, conditions for writers to work in.” DeObia Oparei, Vassily Sigarev, the Presnyakov Devine searched for “hard-hitting, Brothers, Marcos Barbosa and Lucy Prebble. uncompromising writers whose plays are Th is expanded program of new plays has been stimulating, provocative and exciting.” Th e made possible through the support of A.S.K Royal Court production of John Osborne’s Th eater Projects and the Skirball Foundation, the Look Back in Anger in May 1956 is now seen Jerwood Charitable Foundation, the American as the decisive starting point of modern British Friends of the Royal Court Th eatre and many in drama, and the policy Devine instituted created association with the National Th eatre Studio. a new generation of British playwrights. Th e In recent years there have been record- 35 fi rst wave included Osborne, Arnold Wesker, breaking productions at the box offi ce, with John Arden, Ann Jellicoe, N.F. Simpson and capacity houses for Roy Williams’ Fallout, Terry Edward Bond. Early seasons included new Johnson’s Hitchcock Blonde, Caryl Churchill’s international plays by Bertolt Brecht, Eugène A Number, Jez Butterworth’s Th e Night Heron, Ionesco, Samuel Beckett, Jean-Paul Sartre and Rebecca Gilman’s Boy Gets Girl, Kevin Elyot’s Marguerite Duras. Mouth to Mouth, David Hare’s My Zinc Bed and Th e theatre started with the 400-seat Conor McPherson’s Th e Weir, which transferred proscenium arch Jerwood Th eatre Downstairs, to the West End in October 1998 and ran for and then in 1969 opened a second theatre, the nearly two years at the Duke of York’s Th eatre. 80-seat studio Jerwood Th eatre Upstairs. Many Th e refurbished theatre in Sloane productions transfer to the West End, among Square re-opened in February 2000 and the them Terry Johnson’s Hitchcock Blonde, Caryl Royal Court continues as an international Churchill’s Far Away, Conor McPherson’s venue for new playwrights, and as such shapes Th e Weir, Kevin Elyot’s Mouth to Mouth and contemporary drama in Britain and overseas. My Night With Reg. Th e Royal Court also co- produces plays, several of which have transferred to the West End or toured internationally, such Marin Ireland (act- as Sebastian Barry’s Th e Steward of Christendom, or) Th eatre includes: Mark Ravenhill’s Shopping and Fucking (with Th e Triple Happiness Out of Joint), Martin McDonagh’s Th e (Second Stage);Th e Beauty Queen Of Leenane (with Druid Th eatre Harlequin Studies Company), Ayub Khan-Din’s East is East (with (Signature Th ea- Tamasha Th eatre Company, and now a feature tre); Where We Are fi lm). Recent transfers to Broadway include Th e (Rattlestick Th ea- Chairs by Eugene Ionesco in a co-production tre); Savannah Bay with Th eatre de Complicite, David Hare’s Via (Classic Stage Co); Dolorosa, as well as Th e Weir and Th e Beauty Far Away (NYTW); CAL PERFORMANCES 35 ABOUT THE ARTISTS Fighting Words (Underwood Th eatre); Nocturne (Soho Th eatre/Paines (A.R.T. & NYTW); Glass Mountain (EST Plough); Dirty Butterfl y Octoberfest); Th e Black Monk (Th e LITE (Soho Th eatre); In- Company); What the Moon Saw (InterArt/New land Sea (Oxford Stage Dramatists); Ladies in Retirement (National Company); Edward Actors Gala); Heartbreak House (Goodman II (Crucible Th eatre); Th eatre);James and Annie (Ensemble Th eatre of Uncle Vanya, Th e Her- Cincinnati); Proof (Delaware Th eatre Co);Shel’s bal Bed, Th e General Shorts (Th e Market Th eatre);Th e Glass Menagerie from America, As (Foothills Th eatre Co); Shiloh Rules (New You Like It (RSC); Century Th eatre); Jambulu (Interact Th eatre); Th e Children’s Hour Th e Boys Next Door (New Century Th eatre); (RNT); Biloxi Blues Lysistrata (Th eatrEclipse); Iphigenia (Culver (Salisbury Playhouse); Tess of the D’Urbervilles City Public); A Midsummer Night’s Dream (Will (Basingstoke); Medea (Dukes Head Th eatre). Geer Th eatricum Botanicum); Th e Importance Television includes: Th e Playground, Th e Bill, of Being Earnest, Anton in Show Business (New Playing the Field, Soldier Soldier, Casualty. Film Century Th eatre);Th e Fall of the House of Usher, includes: Billy’s Day Out, Brown Paper Bag, Th e Ah Wilderness (Mt. Holyoke Summer Th eatre). New Romantics, My Wife is an Actress, Birthday Television includes: Th e Webster Report, Law & Girl, Gangster No. 1. Radio includes: Death of an Order: Criminal Intent. Film includes: Casting Alturist, Night on the Town, Scars, Uncertainty. About. As a director theatre includes: Christmas (Bush); Tape (New Venture Th eatre). Jason Hughes (actor) For the Royal Court: Sarah Kane (writer) A Real Classy Aff air.
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