Kane left an echo that continues to ring throughout this country’s theatres
In the quarter-century since her shocking death, playwright Sarah Kane’s works have entered the modern canon – taught in classrooms, and almost always in production somewhere around the world. She’s recognized as the most significant British stage writer to emerge from the 1990s., which will open Tarragon Theatre’s Play Reading Week in Toronto on June 10, is a love letter to Kane, a figure who so subtly haunts this country’s theatrical identity.
Reviews of Kane’s work stayed sour for the bulk of her career, focusing mainly on her refusal to adhere to common standards of taste and decorum.rounded off Kane’s playwriting career with poetry, eliminating character names and settings for a new type of playwriting that scholars soon coined “postdramatic.”But her work has outlived those nasty reviews. The Canadian theatre landscape is no stranger to Kane, who in the years after her death has amassed a cult following of devoted fans.
“No doubt that is why I keep coming back, in the hope that someone in a dark room somewhere will show me an image that burns itself into my mind, leaving a mark more permanent than the moment itself.” And there’s room to learn from how Kane was treated by the critics of her time. Sure, no contemporary Canadian critic is likely to call a new play “a disgusting feast of filth.
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