Review: LAST RITES, The North Wall Arts Centre

Have you ever really stopped to consider the significance of sound, of speech, on everyday life… on theatre? Many of us take these things for granted, yet Ad Infinitum’s new play throws the realities of being deaf into sharp relief.

Created by George Mann and Ramesh Meyyappan, Last Rites tells the story of a man returning to India for the funeral of his father. Through the process of preparing the body, the protagonist provides the audience with an insight into his father and the relationship the two had. There is a softness to certain moments, but also the pain of misunderstanding between a father and his son, a situation which is exacerbated through the deafness of the latter. Performed by Meyyappan, this one man play moves away from traditional theatre techniques in order to tell the story through sign language. 

Much of the story is told through direct address, being delivered to the audience as the protagonist goes through the process of washing his father’s body. The backdrop is often a projection of the words being signed, allowing the audience to fully understand what is being said.

However, there is innovation, they are not merely words on a screen but rather a creative interpretation often including illustrations or fading away into animation of a sort. This constantly morphing use of projection could easily become distracting, but instead greatly enhances the piece, creating something which blends different visual artforms in a new and interesting way.

Meyyappan’s performance is captivating, each movement being incredibly precise as he seamlessly moves from character to character and from memory to the present and back. At every moment the audience knows precisely what is happening, down to the chopping of onions. Much of this is done through the flawless physicality of the actor, for the set itself, designed by Katie Sykes, is incredibly simple, consisting of the bare essentials needed to tell the story. 

Central to the play are two ideas: one that a disability makes you different, but it is not a flaw merely part of someone’s identity; and two the relationship between a father and his son. The former is brought beautifully to the fore not only through what the protagonist says to his father but also through the artistry of the performance itself. The latter is something which, of course, runs through each interaction but is also touched upon in relation to the protagonist’s son with his son.

There is a sense of generational burdens here and the pain of unresolved grief, with the relationships being well drawn to highlight that love is rarely black and white. Yet, also, cultural influences are brought into play, with the protagonist’s upbringing in India being explored both explicitly and implicitly throughout.

Central to this play is the idea of sound, of what it feels like to be deaf. But, while there are moments of silence, this is not a performance which is played out in silence. The audience is given an insight into the everyday through a soundscape of music and distorted voices and sounds. Akintayo Akinbode’s excellent sound design is able to balance noise and silence, allowing the moments of silence to maintain their power.

This is a play which touches on a range of issues in an innovative and interesting way and far from feeling heavy, there are moments of fun and lightness which create a perfectly balanced piece of theatre.

Last Rites is at The North Wall Arts Centre until 17 January, then touring until 22 July to Derby, Northampton, Newbury, Scarborough, Ipswich, Salford and Bristol

Image Credit: Last Rites Artwork by Martha Hegarty with photos by Mihaela Bodlovic and Camilla Greenwell

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