![]() ![]() ![]() The only way is forwards – to let go is to be engulfed in darkness, is to be lost. Joshua Pharo’s four strip lights create corridors – room to move in two directions but still claustrophobic. But it is in the silence that you can feel the floor give way – Clock uses it sparingly but when everything stops it is like the weight that was on my chest lifts a little. Clock gives us something to hang on to in the storm. ![]() Craig manages to craft a story out of the jigsaw puzzle pieces of memory that Kane scatters over the page, fitting them together and tracing our hands over the grooves, showing us the outline.Īnna Clock’s sound design moves us through the emotional tunnel of C, B, M, and A (Kane’s four lost souls). Kane gives us the inner workings, and the rest is up to us. Deepres’s film design, alongside Lowde’s set, brings forth the minute, vulnerable details needed for this play to make sense. In a mixture of live feed and recorded video, the camera scans over their bodies, their faces – each one leaving behind an echo, a stain. Ravi Deepres’s visuals on the screen move us closer still to these characters (these characters that we don’t really, can’t ever really know). That monotonous pull back and forth is dizzying Craig never lets us sit still in this show, our eyes constantly moving, our brains constantly turning to make sense of the cacophony. The actors stand on treadmills: four bodies walk forward, only to be pulled back with ever changing speed. Craig has an incredible eye for elegant, playful visuals that I first saw in random/generations in 2018 – the striking, bright blue set of that show is replaced here with Alex Lowde’s monochromatic, grayscale landscape. Tinuke Craig’s production is seismic bodies loom large on stage and again larger still on the huge screen. Kane erects a nihilistic vision of love, only for it to be ripped apart and buried underground after it collapses. Fragments of story are pushed into place, then left jutting out and falling inwards. Over 50 minutes Sarah Kane’s text scaffolds a bleak world, shaped in the darkness. Words pile on top of each other like bodies, each one obscuring the next, each one giving new weight to the last. Lighting Design: Joshua PharoĬrave is a visual poem: lines finishing before they’ve barely begun, sliding out of mouths and crashing onto the moving floor. Erin Doherty and Wendy Kweh in ‘Crave’ at Chichester Festival Theatre. Design: Alex Lowde. ![]()
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