Tell me about your show and what audiences can expect.
RM: Last Rites is based on an idea that George and I had after sharing our experiences of losing our fathers, and becoming fathers ourselves. Those conversations became the initial inspiration for the story.
In Last Rites, our character Arjun has a complicated relationship with his father. They were closer when he was younger, but there’s been conflict, they’ve been estranged and there are a lot of unresolved emotions. Every family has conflict, but when you have two different languages and two different cultures – Deaf and hearing – it can be exacerbated.
The audience can expect to see different perspectives on stage. Whilst we can’t tell audiences what to think, we’re hoping that people leave with a sense of what they value in life, because life is short.
GM: I think the show encapsulates a lot. Whilst there are serious moments, there are also lots of beautiful, moving and funny moments because it deals with grief, and grief can be a complete rollercoaster.
In some ways, Last Rites is quite a familiar, universal tale. It’s very human, yet it’s told from quite a unique perspective. It shouldn’t be unique but it is, because you don’t often see the story of a Deaf man on stage.
I think there’s something quite special about the show as it brings audiences – hearing and Deaf alike – into the same space. In that moment, we all share a space and connect in a way that we may not otherwise in society. I hope that makes people think – ‘why is this the first time that I’ve encountered this, and how can I be an ally?’
Can you talk about some of the creative team involved?
RM: In Last Rites, I use a mix of BSL and ASL because the character starts in India using ASL, then moves to the UK and uses BSL. We were wondering how the mainstream, non-signing audience would access the signed dialogue. I didn’t want to use typical subtitles – spoon-feeding a direct translation – so that’s where George had a lovely idea of using creative captions, which would not only translate dialogue, but mirror emotion too. That’s when Chris Harrison was introduced to us as Video and Projections Designer, and he is brilliant.
I also want to mention Tayo Akinbode, Sound Designer and Composer – such an open and generous person. I’m profoundly Deaf, so I don’t engage with sound in the same way. I can feel reverberations, a sense of sound, but music means something very different to me than to him. After talking about music, what it might look or sound like, I trusted the soundscape.
GM: Chris described the projection like having another character on stage that you’re working with, and I think that made it come together. The finished product is extremely dynamic and exciting – it’s fast paced, it’s creative, it’s really beautiful and Chris’s artwork is gorgeous. The projections are never in competition with Ramesh. It feels like a partnership and that’s amazing and special to see.
I think what Ramesh says about integration is key for all the design elements. We are really lucky to have an amazing team, who collaborated to bring something special together.
Looking at this production, how would you say it links to previous work personally and thematically?
RM: My sister and I are Deaf, but our family are hearing people. They’re Tamil speakers and don’t speak English so communication with my parents was always through Tamil and gestures – we’ve never had the kind of deep conversations people might expect in a family, and that’s shaped a lot of my work.
There’s also a strong theme of death. When I was studying in Liverpool, my sister told me our dad was in a coma. I dropped everything and flew back to Singapore. After a week, he woke up while I was with him and I saw him mouth ‘enough‘ – and he passed away soon after. That moment gave me a sense of resolution.
After his death, we came together as a family, but there were no sign language interpreters at the funeral. There was no effort to make it inclusive yet I prioritised observing the rites and traditions. Sharing that story with George revealed a lot — things we wanted to explore and have brought into the show.
GM: In some ways this work feels like it links to previous Ad Infinitum shows like Translunar Paradise which is a poignant piece without words. They are very different shows but they are thematically linked to fatherhood, relationships and processing.
What would you like audiences to take away from seeing this production at the Fringe?
GM: I’d like audiences to embrace Last Rites as a feast for the senses. The sound, visuals and physical movement are bold, captivating and exciting, and the character and Ramesh’s performance really draw you into the experience.
What show are you most looking forward to seeing in August, and why?
RM: I am hoping to catch Complicité at the Edinburgh International Festival, as I couldn’t make the work when it was on in London. Theatre Re are also bringing a show called The Nature of Forgetting that I’m looking forward to. I need some fresh inspiration, so I’m excited to see work outside of performing too.
GM: Edinburgh always fills me with this energy to make something new because of the different worlds, perspectives and imaginations that are showcased at the Fringe. I love it. I’m excited for the Here & Now programme as the other shows sound amazing and it will be cool to feel part of the showcase.
Last Rites – Here & Now Showcase, Pleasance Courtyard, 18-24 Aug, 3.50pm