‘4.48 Psychosis,’ grim and gripping

4.48 Psychosis. Sarah Kane's austere, deeply disturbing play is about suicide - probably her own, at 28, in 1999; the play was first produced posthumously in London. This dark production, by Little Green Pig Theatrical Concern of Durham, N.C., is perfectly suited to its venue, the beautiful old chapel of the Fleisher Art Memorial. The darkness of both the sanctuary and the material was made moreso by the contrast with the brilliantly sunny, blue-skied day outside.

It begins with "I'm charging toward my death." It ends with "Watch me vanish. Watch." And we do, we have. The unnamed character Dana Marks plays is at once so profoundly unable to bear life, yet so smart, so self-aware, that we identify more than we want to. Marks has that kind of translucent skin that goes splotchy red with emotion; as her need grows more frantic, she weeps, sobs, punches herself, cuts herself, tears at her hair. It is a virtuosic and courageous performance.

Taking the roles of her doctor/lover/friend is Chris Burner, whose sweet, earnest performance is, necessarily, reactive and helpless; all they can offer are "chemical cures for congenital anguish."

Supplying an ascetic sound design on drums and cymbals is Tom O'Connor, who also directs in this difficult space, making excellent use of light and shadow.

   - Toby Zinman