|Fayssal Bazzi in Sarah Kane's Blasted|
Photo: Pia Johnson
The play, at this point, is about expectation and transaction. Ian has brought Cate to this room for one thing and one thing only. It’s about consent and the dangers of the male ego. And you can see why the Malthouse programmed this now; in a time where we know violence against women has hit plague proportions, this one-on-one moment captures that violence in microcosm.
When Sarah Kane’s Blasted was first performed in 1995 at the Royal Court in London, it caused a scandal. This opening scene is confronting enough; Ian is racist, misogynist, homophobic and his work as a journalist does nothing to redeem him. And nothing prepares the audience for the show being torn apart at the end of scene two: a soldier arrives and Ian and Cate find themselves in a war zone.
Kane’s work is rarely performed because it is brutal and uncompromising. It’s easy to see how this play and Kane’s brief career (she wrote Blasted at 25 and died at 28) influenced so much that came later.
I had read the script and knew what to expect. This one room in Leeds becomes a commentary on war and what society’s expectations of men can lead to. And what it leads to is all based in fact, but that doesn’t make it easier to watch. And no wonder the warnings from the theatre are so comprehensive:
This show contains
EXTREME VIOLENCE, SEXUAL VIOLENCE, COARSE LANGUAGE, NUDITY, SMOKE AND HAZE, LOUD AND DYNAMIC SOUND, HERBAL CIGARETTES
AND CONTENT SOME AUDIENCES MAY FIND CONFRONTING
Not surprisingly, this show and the content warnings reminded me of another play that changed theatre, at least in Melbourne – The Hayloft Project’s Thyestes. (Read my review of the original production from 2010.)
Director Anne-Louise Sarks made her name as part of The Hayloft Project in Melbourne before moving to Sydney to work at Belvoir. I’m not sure how much involvement she had in Thyestes, but it feels right that one of the creative minds from Hayloft be the guiding force behind this production of Blasted.
Given the subject matter, Anne-Louise’s steady-hand ensures the play doesn’t feel at all exploitative. That’s an incredible achievement in a story that encompasses rape, war crimes, torture and cannibalism.
Marg Horwell’s set design and Paul Jackson’s lighting work together to underline the dread of the piece and keep the audience on edge, not knowing what will await us after each blackout.
The actors – David Woods, Eloise Mignon, Fayssal Bazzi – are put through the wringer with this one. They earned the applause that came at the end, though they looked ready to collapse from exhaustion as they took their bows.
In some strange ways, Blasted is absolutely a product of its time, but the ripple effects this show has created in the quarter-century since its debut are still being felt. Publicity would have you believe that Kane’s first play changed the world, but if that feels like a stretch, it definitely changed theatre in London and, by extension, given Thyestes felt like its progeny, in Melbourne, too.
Blasted is a searing work, hard to watch and impossible to look away from. If the play itself is about transactions and expectations between characters, this production is about the transaction and expectation between the audience and Kane’s work. Even if you know what to expect, you may not know what you’ll be left with. Somewhere deep in the devastation, there is hope.
|David Woods & Eloise Mignon in Sarah Kane's Blasted|
Photo: Pia Johnson