6 November 2008 The Guardian
By Sarah Kane. Cumbernauld Theatre review.
THERE are three players in Adrian Osmond's audacious staging of Sarah Kane's swan song. The first is you. To enter the theatre, audience members are taken individually into the dark by an usher wearing night-vision goggles. Having stumbled to your seat, you are clueless as to your surroundings. It negates the social aspect of theatre and turns you inwardly on yourself.The second player is a tape recording. Working with sound designer Kenny MacLeod, Osmond recorded Kane's text before rehearsals began. Rather than using one voice, he fragmented the script into a panoply of speakers, ranging in age, gender and class. The intention is to turn the playwright's private evocation of a mind in deep depression into something universal, reminding us that mental illness can affect anyone.
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