'Crave' presented at Washington hall
By AMANDA GRECO
Associate Scene Editor
"If this makes no sense, then you understand perfectly."
This line from Sarah Kane's "Crave" is perhaps the best way to explain this play that has no plot, no overriding message and no distinct characters.
Directed by senior Department of Film, Television and Theatre major Beth Hoffmann as an independent study project, "Crave" has a unique, avant-garde script. Rather than masking its themes in complex characters, relationships and events, the script is a succession of raw thoughts and emotions, no deciphering required.
In place of traditional characters, the lines are delivered by characters named C,B,M and A. Kane offers no explanation in the script for the lack of full names for her characters, nor does she provide a reason for the chosen letters. One could conclude that M represents one person and that A,B and C are the conflicting voices within M's head.
Continuing with the minimal background information provided, the script lacks any stage directions or set design suggestion.
"Everything you get out of the script is in the words," said sophomore Tom Conner, who plays B.
There is no main narrative voice, climax or resolution within this piece. Instead, the audience is presented with a succession of moments, snippets of scenes with synchronized rises and falls.
The difficulty in presenting a script as intricate yet as vague as this one is tremendous for all involved.
"This is one of the hardest shows to perform, partially because of the nature of the language and partially because it is so random," said second-year law student Matt Holmes, who plays A.
There is little continuity within the script to help create a cohesive idea of the characters.
"The clues within the words were what we used to create the characters," said senior Kelly Hart, who plays M.
But what "Crave" may lack in traditional plot is more than compensated for in emotional intensity. The audience is invited to take a trip into a conflicted mind, teeming with contradictory thoughts. The thoughts run freely, with different parts of the mind represented by the different characters. At points throughout the series of fragmented thought, certain ideas come forth to take precedence as the character delivering them takes center stage. For a moment, the other voices within this mind are quieted.
"The aim behind this presentation is trying to create the subjective experience inside someone's mind," Hoffmann said.
The issues addressed in the script include rape, incest, pedophilia, unrequited love, strained relationships, addictions and more. Though these themes may seem extreme and far removed from the lives of most college students, the main ideas are applicable to everyone.
"It's about trying to put a label on life, figure out how to deal with everything and where to put it, " said junior Kat Walsh, who plays the character C. "It shows how we take everything that makes up life, everything that makes us who we are, and let it all exist at the same time. You can't kill one part."
The sets for this show are minimal, allowing the audience to focus on the numerous ideas presented in the script. Each character has a corner to which he or she retreats where there is a platform. Other platforms in the center of the stage facilitate monologues and actions that help to bring the verbal imagery to life.
The floors around each character's platform are plastered with images relevant to that character: pictures of models, cigarette boxes, pieces of cardboard from beer cases, etc.
The characters' movements are perhaps the most intriguing part of the show and credit must be given to Hoffmann who, without direction from the playwright, created it all. Bodies merge and separate, collapse and entangle, charge through the audience or cower in corners, as the mood dictates. Conner and Walsh excel at issuing forth despair, sorrow and disgust through their physical movements.
At times, the emotions expressed by the actors can seem a bit forced. Some moments rise to overly dramatic proportions. The emphasis in the delivery of lines neglects the power of speaking softly, opting instead for loud voices to stress heavy ideas. Notably, however, Holmes' monologue regarding the object of his affection and obsession is riveting and moving.
Throughout the performance, the actors maintain an impressive sense of unity that synchronizes everything from their actions and speech, to their breathing. This unity extends throughout the presentation, even when actors are not speaking. With mere glances and tormented expressions, the actors maintain a solid presence among each other, amid the disjointed, intense flow of emotion. Hall and Holmes wear their character's emotions inscribed on their faces.
"Crave" will evoke sympathy, elicit disgust and provoke thought. With a gutsy undertaking of a presentation akin to "vocal gymnastics," the final product is impressive and has potential to be moving, if not intriguing.
"Crave" will be presented in Washington Hall's Lab Theatre. The show plays tonight and tomorrow at 7:30 p.m. Admission is free; patrons wanting to get a seat should arrive early because seating is limited.
Contact Amanda Greco at amanda_k_greco@hotmail.com.
All Scene Stories for Thursday, February 28, 2002
