War and laughter come to the front in this new fringe comedy arriving in London after its original run in Northern Ireland. Guillermo Nazara shares his views on the show, to let us know if this dystopian farce also raising awareness on a different everyday reality was actually music to his ears.
How many times have you felt as if you could shout to the top of your lungs – and yet, nobody would ever listen? No need to respond, that was rhetorical! Now, settle down! We don’t need another Kristin any more than we need another Karen – or any other K… Oh dear… Anyway. Picture a world where society is at stake as a group of mindless invaders prepare to attack and infect their population so they become one them. Come to think of it, how is that a threat nowadays? Whatever. Travel a few years forward and make yourself at home in a crumbling world of Orwellian charm. Welcome to Deaf As A Post, a story of futuristic adventure playing to the sound of personal resilience.
Penned by Shaun Blaney (also starring in the lead role) and directed by Emma Copland, the piece deals with an earless soldier, who will find himself dealing with the small responsibility that fate has bestowed upon him: to save humanity from its own destruction. A fast paced, easy-flowing recount, the script manages to endow its structure with rhythm and dynamism, but sadly forgets to furnish it with enough content to make it appealing.
Crafting an adequate and, to some extent, engaging start, the rest of the plot fails, most unfortunately, at bringing all of its pieces together with sufficient strength – presenting us with a tale that, though entertaining at some points, lacks a bit more cohesiveness and character background to make it not only satisfactory, but above all, approachable and, at several moments, more understandable. Wistfully, many times it becomes too difficult to get what’s going on, offering as a rapid carousel of scenes which, though high in action, feel low in their effects at making the whole narrative work in unison.
Some praiseworthy elements can still be found anyhow, provided in this case by both company and visuals. The whole cast, completed by Victoria Johnston and Nuala McGowan, give an extraordinary multi-part rendition, excelling through their versatility and electrifying energy. In addition, the montage’s versatile blocking, complemented by its rather compelling lighting and imaginative set design, allow the story to unravel in a more engaging way – regaling us with quite a few impressive snippets despite its uncomplicated black-box concept.
A thunderous effort at bringing both humour and consideration to an often ignored situation, Deaf As A Post begins its journey on a staggering premise, but struggles to spot the right path onto a proper realization. A more introspective approach, focused on fewer personages and more components brought into them, will certainly help it to develop its full potential – and possibly, bring out that final piece that’s missing to make its whole machinery function. It’s a work already able to listen, but still needs to build its ability to speak.
All pictures credit to Rosamund Gravelle.
Deaf As A Post plays at London’s Barons Court Theatre until 20 April. Tickets are available on the following link.