EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
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‘You’re dead to me’
Tinuke Craig’s direction makes a satisfying whole of the characters’ solitary and disjointed language, writes Jan Woolf
Erin Doherty and Wendy Kweh In Crave At Chichester Festival Theatre
[Marc Brenner]
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
Crave
by Sarah Kane
Chichester Festival
THE play begins and concludes with the line: “You’re dead to me.” It is also in the middle of this 50-minute piece from the darkly poetic Sarah Kane, who took her own life in 1999 aged 28: a fact usually known by audiences.
“You’re dead to me” is aimed at a character who may have raped, abused, or spurned (we’re never sure of the relationships between C, M, B and A). But I wondered if it was Kane-talk, the you and me of a divided self.
The reviewer should concentrate on the play, not the writer’s psyche, yet in her work they’re integral, and audiences might look for clues to the suicide; most of them content in their own core personalities.
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