Sarah Kane’s final play examines clinical depression, dissociation and death. This staging was centred around ‘Sarah 1’ and then 3 other versions of ‘Sarah.’ The costume design identified these versions using transactional analysis theory where each Sarah is in parent, adult or child mode.
The ensemble, in vests, kept a naked silhouette and, in bruise tones, acted as Sarah’s body’s response to her suffering, just like a bruise surfaces as a result of pain.