Bartlett’s vicious comedy revived with a performance that fully embodies the
language’s grippingly caustic cruelty
In a performance delivered entirely in BSL with creative captions, Deafinitely Theatre create a viscerally visual power-play of cruelty, in this expressive and tense version of Mike Bartlett’s Bull. As stated with commanding gravitas by David Sands, playing the ruthless boss, Carter, this is ‘survival of the fittest’. Paula Garfield’s skilful direction does much to demonstrate how capitalism breeds cruelty, making monsters out of the three employees left to fight for their jobs.
Bartlett’s signature acerbic wit is delivered with full-bodied sharpness, particularly by Jasmine Whipps, as the unrelentingly callous Isobel, intent on tearing her colleague Thomas down. The way she invades and enters the space, poking and prodding at Thomas demonstrates from the start she is out for blood. Yet moments of light and shade in Jasmine Whipp’s performance reveal a lurking vulnerability and insecurity.
Ciaran O’Breen does a fantastic job of displaying Thomas’s pathetic attempt to resist his colleague’s domination. Initially, he fights back with vigour, particularly in an excellent monologue about Isabel’s tightness, contorting himself to mock her but also bringing physical pain to himself. By joining in on their game, it’s clear he is the only one being hurt.
The small stage becomes an arena of jibes and mockery, with Danny Lee’s self-assured Tony appearing to be in control, flitting between mocking Thomas and Isobel. Bartlett presents humour as a tool for control – who gets to take the stage and mock? And who becomes the victim?
This is all comes to a head in a physical fight, directed with precision by Robin Hellier. Thomas can’t beat them at their own game and life is in fact not a meritocracy. The play leaves a solemn taste in the audience’s mouth. Laughing at people most definitely comes at a cost. The heavy thumping intro music gives way to silence, allowing BSL to become the dominant language, and despite being unable to speak it, it only added to the sharpness of the performances and the haunting depiction of language’s cruelty. Words become physical, and delightfully horrible, in often very funny impersonations and gestures.
Deafinitely Theatre makes the case for the magic and importance of BSL theatre being for all, and not as an afterthought, introducing me to a new type of theatre that lets language sing through the body. I can’t wait to see what this exciting company does next.
This show runs at Park Theatre, London until 24th October. Tickets here.