Programme Cover
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Oval House Theatre, London, 29November
- 16 December 2000, in a double bill with
Mountain Language
In British Sign Language
Cast Tandem Theatre Company:
Jeni Draper, Frank Essery, Neil Fox, Lee O'Brien,
Caroline Parker, John Paton, Steven Webb and Simon Whitehouse
Directed by Jessica Higgs
Designer - Kate Owen
Lighting - Aideen Malone
Review by Lyn Gardner
Harold Pinter's plays take on a new depth of meaning in this intriguing
double bill presented by a new company, In Tandem. The actors are
all deaf, and the plays are performed in British Sign Language.
For those in the audience who cannot understand BSL, there are spoken
interpretations. This is, of course, the opposite of what normally
happens in the theatre, where the actors speak and there are occasional
sign-interpreted performances.
What immediately strikes you is that this is no gimmick, and nor
is it merely a service to the hard of hearing. The 20-minure Mountain
Language inspired by the plight of the Kurdish people in Turkey,
is about oppressed people who are denied the right to speak their
own language. Until recently, well-meaning but misguided ideas about
assimilation into the mainstream meant that deaf children were often
denied the right to use BSL and forced to communicate vocally. But
eveb if you were oblivious of the history of BSL, Jessica Higgs's
production of the brief play in which bullyboy soldiers intimidate
a group of women trying to visit their imprisoned husbands has a
stark clarity. It is as if the gestrual expressiveness of BSL means
all of Pinter's pauses are filled up. But as fast as they are, more
gaping holes appear.
That is even more the case in the second play, Landscape, in which
a middle-aged married couple talk but do not communicate as they
pursue their own train of thought with monologues that have echoes
of each other.
Here, sign language and the spoken interpretation meld perfectly:
it is like seeing the manifestation of layer uoon layer of hidden
emotion as what is said, and what is meant and felt, the external
and the internal, slide into each other in dramatic harmony. It
strikes me that something has been achieved here that neither sign
oanguage nor the spoken word alone can do.
Both plays are beautifully designed and authoritatively perforemd,
and this evening in the theatre is not just a quirky experiment
but the real thing.
The Guardian, December 2000
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