This production is both ingenious and simple.
Describing itself as ‘a fully British Sign Language-led hip-hop gig’, Follow the Signs, features four dance practitioners, and tells the formative stories of the two hearing-impaired dancers among them.
The artists are Chris Fonseca and Raphaella Julie as the dancers. Their story is narrated – mainly through rap and hip-hop rhyme flows – by Harry Jardine and Fleur Angevine Rooth.
The set is bare, save for two cordless microphones on stands (used by Jardine and Rooth), a table with some music turntables (set downstage right for Julie) and – most notably – a full-length projection backdrop, onto which real-time lyrics, BSL cues and narrative devices could be displayed, and propulsive lighting states could be cued; allowing for equal enjoyment and involvement for almost everyone within – and along – the hearing spectrum.
Aiding both the story and the ‘delivery service’ is the employment of co-writer and director Jardine as ‘co-signer’ – as well as vocaliser – the various narrative flows. Indeed, the preparatory tale of how he learnt to sign – thereby becoming the co-creator/ interlocutor for this show – becomes an effective, lesson in the discipline and endeavour needed to attain true ‘ally-ship’.
Having been suitably ‘drawn in’, we get to hear, see and experience (through projected lyrics and the voices of Jardine and Rooth) the friendship – then origin – stories of Fonseca and Julie. With Rooth and Jardine acting as ‘voice surrogates’ for the two dancers, we get to hear how each of them learnt to grow up with – and through – their respective hearing impairments, and how dance – as well as the love and support and of others – helped them become more aligned and alive.
Of course, as this is a hip-hop theatre piece, the story is both vocalised – through Jardine and Rooth’s rapped narrative and helpfully projected onto the screen behind – and physicalised through dance, by Julie and Fonseca (with able support by Jardine).
Jardine and Rooth’s rapping deliveries are both clean and smooth; their respective tones being simultaneously light-hearted, heartfelt and sufficiently ‘rooted’ so as not to sound pretentious. The lyrics – presumably written by Fonseca and Jardine – are also sufficiently ‘everyday’, so as to deliver message, storyline and just enough subtext to keep us connected.
The choreographed by co-writer Fonseca himself is expressive and emotive. Using elements of B-Boy strutting, gesturing and tutting, there is a joy and freedom conveyed by all three dance practitioners, and especially Fonseca.
A particular highlight is when – upon being denied entry into a nightclub due to his wearing of a hat – he makes the stark realisation that his wearing of the head-gear was (symbolically and literally) to hide his ‘hearing device’; relating that to the ‘masks’ we all use, in order to hide the perception of our more shameful aspects.
It is a powerful moment; one of many, for those who know what to look – and listen out – for.
This production deserves to be experienced by all – especially those of school and college ages, when the ‘human connection’ framework is a little more pliable.
Of course, this works as an ‘empathy refresher’ for all ages, but should be of great interest for many studying under – or working within – the equal opportunity and education sectors.
Kudos must go to all four performers, Chris Fonseca, Raphaella Julie, Fleur Angevine Rooth and Harry Jardine; most notably Fonseca and Jardine, for their roles in co-writing, and ( respectively) choreographing and directing this most clean and efficient of works.
Respect is also due to creative producer Sian Weeding, dramaturg Kirsty Housley, composer Yacoub Didi, sound designer Gareth Tucker (for Autograph), Lighting Designer Rachel Sampley and BSL Consultants Deepa Shastri and Cherie Gordon.
If empathy is the great vehicle for human connectivity – and theatre is a great roadmap – then this piece is a superb, little service stop along the path to enlightenment.
Need to know: Follow the Signs plays at Soho Theatre until 12 Oct 2024
