The Singer review – a sensational new show from Cora Bissett and KT Tunstall

A vibrant, heart-pumping piece of gig-theatre, The Singer – co-produced by Dundee Rep Theatre and Solar Bear in collaboration with Aberdeen Performing Arts – is a soaring celebration of identity, expression, and human connection.

Written and directed by Cora Bissett and developed from her lockdown short film co-written with Deaf artist Jamie Rea, this premiering production at Traverse Theatre follows an unlikely artistic alliance between Joe (Rea), a Deaf artist who “sings” with his hands, experiencing rhythm through visceral, physical sensation, and Andy (Dylan Wood), a burnt-out, hearing musician desperate for a comeback.

Though the plot occasionally treads familiar A Star Is Born territory – complete with sudden breakthroughs, the seduction of fame, and references to Lady Gaga – it transcends formulaic tropes by creating flawed, fun characters and introducing two narrator “Oracles” (Hannah Jarrett-Scott and Petre Dobre). It poses sharp questions about artistic validity, ableism in the music industry, and why Deaf artists are so often pushed to seek validation from hearing audiences when a thriving Deaf community already surrounds them.

At its core, the production is powered by original songs from Grammy-nominated singer-songwriter KT Tunstall. Tunstall’s score is packed with genuine bops that hold their own alongside any studio album, bringing a infectious authenticity to the narrative. The show’s distinct Glaswegian identity grounds the tale with rich local flavour, balancing its dreamlike trajectory with a sense of the here and now

The technical execution is exceptional: the associate BSL direction from Benedetta Zanetti, lighting design by Emma Jones, and sound design by Garry Boyle operate as a multilingual menagerie of communication and accessibility. Daniel Hughes’ captioning integration stands out as a triumph: captions appear creatively, with blurs, fades and wipes all allowing the text to breathe alongside the action.

There’s also strong ensemble work from Jarrett-Scott and Dobre, while Rea and Wood deliver electrifying performances that make you root unreservedly for their success. It is an innovative, deeply affecting piece of musical theatre that deserves a long life well beyond this year.

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