An extraordinary feat of multimedia theatre that gives new meaning to all-inclusive
The conjunction of Jewish Ukrainian poet Ilya Kaminsky and Dublin-based theatre company Dead Centre has produced a fast-paced kaleidoscope of a show that tells a story with clear allegorical parallels to the current situation in Ukraine. Actors, aerialists, puppeteers, signers and projections that take your breath away come together in this adaptation of Kaminsky’s book of poetry, Deaf Republic, to create a vivid account of unrest and struggle in the mythical country of Vasenka.
Working with Dead Centre, sign language poet Zoë McWhinney (who was born deaf) reframed the drama for the stage and, working with joint writers and directors Bush Moukarzel and Ben Kidd, gifts the audience an evening as eyeopening as it is magical. Together, they ensure that the cast of deaf and hearing performers meld with the multimedia of set design (Jeremy Herbert), lighting (Azusa Ono), sound design (Kevin Gleeson) and video direction (Grant Gee) to take the audience to this fictional country in crisis.
A ‘deaf republic’, where all citizens embrace unhearing voluntarily, is declared in Vasenka in protest against a violently shocking act carried out by the occupying forces. Petya, a young boy, has been shot in the town square because he did not heed the order to disperse simply because he didn’t hear it – he was deaf. That he is played by a puppet does not lessen the impact. By the time we witness the violence, the audience has been taken into the confidence of two key individuals: a Signer (Romel Belcher) and a woman with a microphone (Caoimhe Coburn Gray), whom is introduced as the “Worder”.
The Signer sets up the story: “Let’s say I’m Alfonso, and that’s Sonya, and we’re married.” We learn of their love and the puppet theatre at which they make a living, but at the same time Alfonso reminds us that it’s all a fiction. Nonetheless, he casts the audience as the townspeople and you cannot help but be drawn in as a gauze is lowered and puppet versions of both Alfonso and Sonya appear on a puppet-stage-within-a-stage, get married and have a baby, as revealed by captions projected on the gauze.
As we meet townsfolk, including a brothel madam (Derbhle Crotty) and two of her girls (Lisa Kelly and Kate Finegan), a puppet Petya and a gun-toting puppet soldier (elsewhere, soldiers are played by Dylan Tonge Jones), it becomes impossible not to care about their fate. The sight of puppets drawn limp and lifeless into the air during the fighting is both shocking and affecting. Whether you hear, see or experience all aspects of this show, Deaf Republic will remain with you long after curtains.
By Judi Herman
Photos by Johan Persson
Deaf Republic runs until Saturday 13 September. 7.30pm, 2.30pm (Thu only), 1.30pm & 6.30pm (Sat only). £15-£64. Royal Court Theatre, SW1W 8AS. royalcourttheatre.com
Then at Dublin Theatre Festival Thursday 2 – Sunday 5 October. 7.30pm, 2.30pm (Sat only), 1.30pm & 6.30pm (Sun only). €28-€35. Samuel Beckett Theatre, Trinity College Dublin, Dublin D2, Ireland. dublintheatrefestival.ie