4.48 Psychosis at Iron Crow

In keeping with the Iron Crow Theatre Company’s tradition of staging unconventional, thought-provoking, often dark dramas, the kick-off to their three-play 2014-2015 Season did not disappoint.  You know you’re in for a signature Iron Crow theatrical experience when before the play begins the audience observes a body dressed in white, highlighted by occasional red lighting, lying prone on the otherwise darkened Theatre Project stage with some gloomy New Age music droning in the background prior to its presentation of 4.48 Psychosis.   #hocoarts

Nick Horan (L.) and Katie Keddell  Photo: Zachary Z. Handler

Though Iron Crow bills itself as Baltimore’s queer theatre company, 4.48 Psychosis by British playwright Sarah Kane stepped aside from past Iron Crow plays that usually have LGBTQ themes woven into the scripts.  Research reveals, however, that Kane had affairs with women, so this presentation does have an LGBTQ connection even if the subject matter was mostly devoid of it.

In fact, 4.48 Psychosis doesn’t even have a plot, structure, timeline or staging directions.  Iron Crow’s artistic director Steven J. Satta attests to that fact in a press release announcing the season: “The play is written in a manner, which is not realistic or linear but rather abstract and disjointed, which is appropriate when dealing with issues of mental health—the rational does not apply.”

For full review, visit MD Theatre Guide.