MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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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]
MATTHEW HAWKINS rakes through un-fancy words and flair-free summaries to find who and what might be flamboyant
PETER MASON is exhilarated by an exciting, well-considered and historically minded tribute to the great Trinidadian instrument
Reducing historical lives to ‘male’ and ‘female’ roles, we lose the nuance of those lives and a clearer understanding of past societies, suggests CLAIRE ISABELLA GILMOUR
CHRIS SEARLE relishes the genius of pianist Alexander Hawkins, his many ensembles, and his new album
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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