“As you pull on each thread you just discover more and more and still as yet I do not think we have come to the end of it. But who cares? That knot is rather beautiful.”
Director/Designer Michaela Savina aptly captures the heart of Sarah Kane’s Crave, the third production by Montague Basement for this year’s Sydney Fringe Festival. A challenging and provoking piece of work to take on, the cast and creatives have done so quite admirably; their efforts with Crave speak to an exciting future body of performances.
As with other works of Sarah Kane’s, Crave is all in the words. Intersecting, incomprehensible, and indirect, this language would be a fight for any actor. The four on stage – Adam Doughty, Clayton Moss, Kate Pimblett and Eleni Schumacher – fight well, with some minor casualties. But there are victories also: Moss’ alluring monologue as ‘A’, Pimblett’s rawness as ‘C’, Doughty’s verbal expressiveness as ‘B’, Schumacher’s fluctuating tone as ‘M’. These are bright, bold actors, and they should be watched over the coming years.
Savina’s simple design, along with Saro Lusty-Cavallari’s lighting, creates a subtly chaotic atmosphere which mirrors and sometimes magnifies the chaos on the stage. The staggered fade-out at the close of the piece was particularly special; perhaps all we had seen was a vision, or a dream, or a hologram message from an isolated future. Perhaps it was everything at once.
Unfortunately, Crave has now finished its Fringe run. But I would encourage all to keep an eye out for Montague Basement’s work, both devised and scripted. The company’s next shows are a double bill of Macbeth and The Taming of the Shrew, at PACT from 29 November – 10 December. Go check them out.
Cover Image: Cole Bennetts