Theatre review: Deaf Republic

Deaf Republic takes its cue from poetry, in a variety of forms: The source material is Ukrainian-American poet Ilya Kaminsky's book of the same name, while the play itself is co-written by its directors Bush Moukarzel and Ben Kidd, aka Dead Centre, and BSL poet Zoë McWhinney. In a fictional Eastern European town occupied by enemy soldiers, a child is watching a puppet show when a soldier commands the crowd to disperse. But the child is Deaf and when he fails to obey the order he's shot dead. The next morning the entire town has also become profoundly Deaf in protest, communicating in their own mix of British and Ukrainian sign language designed in part to add an extra level of inscrutability for their enemies. The soldiers brutally try to break the protest and prove the people are only pretending, but meet with a wall of silence.

Theatre review: Antony & Cleopatra(Shakespeare's Globe)

One of my A'Level English Shakespeares, and not one I've ever loved, Antony & Cleopatra had my favourite-ever production at the Globe. The latest revival's publicity makes a point of the fact that it's ten years since it was last seen there, but that wasn't the original intention: It was first announced that Deaf actress and familiar face at the venue Nadia Nadarajah would play the Queen of Egypt in 2020, in what was also meant to be that year's Michelle Terry-starrer in an unannounced role. I guess the Artistic Director might have been eyeing up Antony, but my bet would have been Cleopatra's chief lady in waiting Charmian, allowing her to translate from British Sign Language to English and back. If my guess was right then the four-year delay caused by lockdown made for a different high concept for Blanche McIntyre's production, which still stars Nadarajah as Cleopatra, but has her joined by a number of other D/deaf performers for a fully bilingual production.