4.48 PSYCHOSIS lays bare the chronic struggle of an individual to create a coherent sense of self in a society which is crumbling at the hand of its own hyperviolence. 
Fuelled by personal experiences of gender and neurodivergence, hauntological theory, cult horror films and contemporary noise and drone music, Mhàiri Mackenna stages this cult classic through the lens of their current societal confusion, fear, disgust and horror.

Written at the end of the 21st Century, in the midst of the radical decline of Western values upheld throughout the past hundred years, 4.48 PSYCHOSIS is Sarah Kane’s last play, and her most vulnerable. Penned in a time in which she had “lost faith in love”, Kane composes a web of deeply intimate fragments in which the life of an individual blooms and unravels. 

Mackenna stages the play as a lonely, manic monologue. Surrounded by an excruciating landscape of love and loss, our main character obsessively seeks tenderness and clarity at the foot of their grave. Haunted by bodily dysphoria, psychological dysphoria and societal dysphoria, followed by the ghosts of their life and paralysed by shame and anger, they mourn the past, the present and, especially, their lost future.

Is it possible to survive as a member of a species which seems hellbent on orchestrating its own obliteration? Is this a world I can live in without lying about who I am? And what do I do if I see myself turn to ash?

With 4.48 PSYCHOSIS, Mackenna continues developing their body of work researching and portraying the lives of outsiders, centring around how they navigate the extremities of their life in the face of impending personal and societal doom.

Premièred on the 19th of February 2026 at Frascati in Amsterdam, The Netherlands.