Deaf As A Post – Barons Court Theatre, London

Shaun Blaney explores d/Deafness and zombies in an energetic new play, Deaf as a Post, at Barons Court Theatre.

Deaf as a Post

It’s certainly ambitious.  To stage a dystopian, zombie sci-fi story, in a pub theatre, with a cast of three, in a little over an hour.  Then add in making it a metaphor for disability as a societal construct when it comes to being d/Deaf.  It’s a lot to be getting on with.

It’s also rather fun.  The cast of three, led by the play’s writer Shaun Blaney in the role of Goody, throw themselves around the Barons Court Theatre’s subterranean space as they attempt to avoid ‘Loopers’ – victims of what is seemingly a new virus that causes them to endlessly repeat meaningless clickbait and sound bites. Our heroes run around and shoot guns. They jump off bridges into the Thames.  Other London landmarks are involved a bit later on.  I really have to commend Blaney and team committing wholly to a big story.

Goody, like Blaney, is d/Deaf.  This fact protects him from exposure to the virus.  But the post-apocalyptic army in which he finds himself perpetuates the lack of accommodations found in pre-apocalyptic society.  Goody is constantly exhausted by trying to make out what those around him are saying, lip read when they have the courtesy to face him when they speak, and deal with their frustration when they have to repeat themselves.  That one person is willing to make a little more effort is a welcome balm, and draws Goody and Chuckie (Nuala McGowan) closer together.

A Lot of Potential, A Lot of Fun

Doing something on this scale in a modest production is not without its challenges.  For one, it’s difficult for the audience to gauge the time passing.  Is it the next day, or have weeks passed?  I’m guessing the latter as Chuckie had time to learn some sign language, but that was really my only clue.  Blaney may also be a little guilty of writing the best part for himself while not focusing so much on the development of other characters, but we’re not dealing with a Hollywood film here: there’s only so much character development you have time for in 70 minutes when you have to fight off zombies and try to save the world.  And finally, for a play which is partly about hearing and d/Deafness, a lot of it takes place at a very loud register which had me covering my ears.  But Blaney and team recognise this is still a work in progress and openly welcome feedback, so hopefully these comments are taken in the constructive spirit in which they are intended.

There are some good performances here.  Blaney’s Goody comes across as relatable and likeable.  And McGowan switches nicely between her characters.  Victoria Johnston perhaps has the more challenging role, her primary character being a (predictably?) belligerent Scot, Hamish. The lighting design is great, evoking different spaces including the water of the Thames, and helping the audience to parse out the scene switches.  Emma Copland directs, and has encouraged those committed, physical performances we discussed earlier.  I’ve never seen such a full use of the Barons Court Theatre’s unusual space.

So there’s a lot to like here.  If you’ve ever watched a sci-fi/zombie/dystopian love story sort of flick and thought “I would really enjoy seeing this live”, then Deaf as a Post might just be for you.

Salterton Arts Review’s rating: 3/5

Deaf as a Post on until 20 April.  More info and tickets here.