Review: CLEANSED, ALMEIDA THEATRE
Ten years after Katie Mitchell’s visceral and highly publicised production of Cleansed at the
National Theatre, virtuoso director Rebecca Frecknall faces Sarah Kane’s play head on and
comes out the other side a true victor.
Set within the confines of a dystopian version of a university, the play follows seven
characters battling with their sense of self, their sense of purpose and their never ending quest of
finding some form of release from the physical and mental agony that underscores their existence.
As is the case with the rest of Kane’s work, the only hope for such release is death. Whether that
hope proves to be true or false for these characters is up to interpretation.
The play stays true to Kane’s graphic description of events and there are a lot of moments
that viewers will find difficult to watch. At no point however do any of them feel gratuitous in
nature, because what Frecknall has done is really well is that she has presented us with a brave
and raw exploration of human suffering, both physical and mental, rather than trying to shock the
audience and sensationalise suffering just for the sake of it. It is very easy to treat this play as a
horror/splatter and this is thankfully not the case here.
As for the play’s themes and messages, there is definitely plenty to be said about mental health,
societal stigma, power dynamics, relationships of any kind, gender, identity, sexuality and on and
on the list goes. But it would be a disservice to the play to try and endow its essence with
contemporary sensibilities and intellectualise its contents, rather than allowing it to be felt. While
deeply political in her beliefs, Kane’s intention was not to be didactic with her work, but to force
the audience to confront uncomfortable realities, and progressively rejected linear structure and
traditional theatrical form. Therefore a sociopolitical dissection of her plays, which often acts as a
method of emotional detachment from the content, would detract rather than add to the
experience.
The production design for Cleansed is a true masterpiece. While not particularly hinting at
a university setting, Madeleine Girling’s cold and almost clinical set design sets the right tone
from the moment the audience sets foot in the space, and the feeling of unease sets in even
before the performance begins. Its genius lies in its simplicity, and the different levels and planes
that are created not only facilitate perfectly the incredibly challenging choreography and
movement required, but allow for many breakout rooms and spaces for the characters to exist in,
both in life and in death. Girling’s set design is aptly complemented by Lee Curran’s lighting
design and of course by the sound and music choices which expertly create a tense and uneasy
environment and amplify the actors’ performances, without patronising the viewer by trying to
dictate how they should be feeling at any given moment. A standing ovation is in order for the
movement and intimacy coordinators, as well as the illusions and special effects, all of which are
a make or break element of this play.
All members of the ensemble give grounded yet fiercely brave performances, but special
mention should be made of Stuart Thompson’s deeply complex portrayal or Robin and Luke
Cinque-White’s impressive physical performance.
This is a play that cannot really be “enjoyed” in the traditional sense of the word, but can
be deeply appreciated in multiple levels, and this production fearlessly confronts all of them. It
challenges and exposes the viewer’s innermost self and if allowed, it can even deliver on its
promise, leaving the audience, true to its title, cleansed.
**** Four stars
Reviewed by Erifyli Gigante
Book tickets here