Review: Cleansed, Almeida ★★★★

Rebecca Frecknall directs an Unflinching, Difficult revival of Sarah Kane’s Cleansed

Sarah Kane was the definitive voice of the “in-yer-face” theatre movement, and this revival of Cleansed at the Almeida offers a rare chance to see her work staged. It is brutal, difficult to watch, and uncomfortable throughout. Yet the actors are fearless and unflinching, portraying relationships that shatter social norms while remaining chillingly plausible in the moment.

Director Rebecca Frecknall and designer Madeleine Girling divide the stage into three distinct spaces: a grim institutional hallway, a sparse room, and an improbable plant meadow. It works brilliantly. The set is stark, industrial, and uncared for in a way that suits the material entirely. Neon strips and shifting shadows constantly alter the mood, while a soundscape of discordant pulses and beats builds an underlying, thrumming dread. Flashes of light and jarring noises offer punctuation to great effect and everyday music gives an uneasy sense of the mundane.

Written as a deliberate experiment, Cleansed tests the audience as much as it tests its performers, who must navigate extreme intimacy, despair, and sustained nudity. The inventive work of movement director Ingrid Mackinnon is evident throughout, helping the cast carry these immense physical and emotional demands. Though the relentless intensity made the run time feel somewhat stretched and I was ready for it to end before the curtain fell.

The chemistry across the ensemble is palpable; for all the brutality on display, genuine affection shines through. The reading lessons for Robin (a gently lost Stuart Thompson) and tender moments between Rod (Parth Thakerar) and Carl (the balletic Luke Cinque-White) are strangely touching. Leo Bill balances terrifying sadism with a pathetic vulnerability as Tinker, while Pearl Chanda and Jack Riddiford are exceptional as the central brother and sister, Grace and Graham. The entire company commands the Almeida space well; sitting in the circle, every word was crisp, clear, and perfectly paced for the room.

This is true “in-yer-face” theatre, and it is not meant to be comfortable entertainment. The house at the show I attended was largely hushed, punctuated by visible flinches through the auditorium, culminating in a split curtain call of both bravos and boos.

That divided reaction is understandable. Cleansed is unflinching, difficult theatre. It is not enjoyable, nor is it intended to be, but it presents a rare opportunity to confront the darkest corners of human nature through the vision of a landmark British playwright, executed with total artistic courage. It is not for the faint-hearted. But if it isn’t for you, the better response is to stay home rather than jeer; the performers on that stage are giving a dangerously exposing performance every single night. The Almeida have been very careful in their warnings, and it feels very unkind to jeer performers who have bravely shown us exactly what Kane asked of them.

COntent Warnings

Torture, murder and violence including sexual violence, depictions of sex and nudity, drug abuse, depictions of suicide including hanging, homophobic and misogynistic language, and blood. The venue also notes prolonged nudity, forced eating, gender reassignment surgery, incest, needles, blackouts, flashing lights, latex and loud, sudden noises including recorded gunshots. It is recommended for ages 16 and over, and the Almeida has produced a self-care guide for anyone who wants to prepare before booking, or find support afterwards.

A note on affordability

the Almeida’s £5 tickets for those aged 25 and under have now closed for this run, but a discount remains for those aged 30 and under, over 65s, or unemployed (not valid Thursday, Friday or Saturday), and there are dedicated access performances still to come, including audio described, captioned and relaxed options.

Photography by Marc Brenner

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