3wishes Theatre Explores 4.48 Psychosis at Colchester Fringe
3wishes Theatre are bringing Sarah Kane’s 4.48 Psychosis to the Colchester Fringe Festival 2024, delivering a powerful exploration of mental health and human vulnerability. Directed by Wendy Smith, the show takes place at The Headgate Theatre, an intimate setting ideal for the raw, emotional content of Kane’s final work. With performances from 25th to 27th October, the production promises a captivating, boundary-breaking experience for audiences.
We headed out to Essex to catch up with Wendy and find out why 3wishes wanted to bring this play to Colchester.
Hello and Welcome Wendy, so what have you got planned for us?
I’m directing 4.48 Psychosis by Sarah Kane for the Colchester Fringe Festival 2024. Our show opens the festival on Friday 25th October, with two more performances on the 26th and 27th. The Fringe runs for 10 days, from 25th October to 3rd November, with incredible international acts alongside national and local artists.
Where are you performing in Colchester then?
We’re performing at The Headgate Theatre, which is a reincarnated chapel turned into a characterful and intimate theatre space. As a Colchester-based company, we love performing within our community. It’s uplifting and inspiring to be part of a creative hub where people come, not just to watch plays, but to feel connected.
What can audiences expect from 4.48 Psychosis?
4.48 Psychosis is a big story told in an unusual way, offering a unique theatre experience. It draws audiences into the inner life of someone struggling to navigate what is real and what is fantasy. The play follows a fight for survival until 4.48 a.m., the critical moment before dawn when clarity briefly emerges. It’s powerful, moving, funny and fearless.
What initially drew you to this project?
The play was written in 1998 when 3wishes Theatre was just starting out. I was fascinated but terrified of going near it, and I’ve never seen it performed. Sallie Mills Lewis, who’s in the show, persuaded me to at least read it. I realised that, despite its darkness, it’s also beautiful. The language is lyrical and honest with flashes of wicked humour – all my favourite storytelling tools.
What’s your favourite aspect of the show?
I love the rhythm and musicality of the language when it’s in full flow. It’s astonishing how a writer can create such a sound.
What has been the biggest challenge in realising Sarah Kane’s vision?
Sarah Kane wanted to show how it feels when all boundaries disappear, and the play’s form reflects this, with no explicit characters or stage directions. She invites everyone to make of it what they will. Every performance of 4.48 Psychosis is reimagined, but we’ve tried to stay true to her ideas, which has drawn us closer to her as a writer. I don’t think I’ve ever researched a writer as much as I have with this play.
How important is audience interaction to you?
As a community interest company, we are passionate about theatre that excites and communicates with people. Audience interaction is crucial because we believe theatre elevates community life and can inspire change.
What’s the most valuable advice you’ve received during your career, and how has it influenced your work on this show?
A mentor once told me that my job as a director is to create the best possible environment for the entire team to be creative, rather than focusing on generating ideas myself. This advice has been mission-critical, especially for 4.48 Psychosis.
How does 4.48 Psychosis resonate with current societal issues?
Mental health awareness has improved since the play was written, but harmful stigma persists. 4.48 Psychosis pleads for people to “listen and understand” mental health issues rather than dismiss them. Statistics from charities like Mind and Sane show mental illness is increasing, particularly among young people, which makes the play’s message more urgent than ever.
What kind of emotional or intellectual impact do you aim to leave on your audience?
Fringe audiences are great because they’re open-minded and supportive of experimental theatre. I think they’ll be surprised by how much they relate to the play’s themes – love, loss, and the struggle to hold onto confidence and dignity when there are no clear answers.
How do you hope the show will influence or change your audience after they leave the theatre?
I hope they’ll talk about the play as one of the greatest contemporary British works. Sarah Kane understood theatre profoundly, and I want people to reflect on how we can confront the mental health crisis. We’re also supporting Sane, one of the UK’s leading mental health charities. For more information or to donate, visit www.sane.org.uk.
What was a magical or transformative moment in the production process.
Our very first read-through was a magical moment. Sallie Mills Lewis and Sadie McMahon read the play, intuiting who said what since there are no explicit characters. The effect was astounding, and we knew then we had to do it.
Will you be at the bar after the show, and are you hoping for audience feedback?
We’ll definitely be in the bar after each show! I’ve told people to come and say hello if they have time. I’m excited to hear their thoughts – as long as no one asks, “how did they remember all those lines?”
If you could perform this show anywhere, where would it be and why?
I’d love to see how it works in Japan, where mental health care is underutilised and mental illness carries a strong stigma. I wonder how the stylisation of 4.48 Psychosis might intersect with Japanese theatre traditions that rely on symbolism and physicality.
With a minimal set for the Fringe, how have you approached your set and props?
We’ve invested in lighting and sound, with just four pieces of reflective furniture that enhance the lighting design. They throw shards of light across the stage, which mirrors the play’s fragmented nature.
Thanks to Wendy for chatting with us. 4.48 PSYCHOSIS will being playing at The Headgate Theatre, as part of Colchester Fringe Festival 2024 between the 25th and 27th of October. Further information and tickets are available here.
