Can you hear it? The drum beating as steady as your heart? Can you feel it? The rumbling which starts under your feet and sends chills up your spine? No matter how you can experience live theatre, Qalb, A Journey of the Ego is made for you. Bringing the words of Rumi to life through both English and ASL, Qalb is a multi-faceted, eye-opening experience. A writing collaboration between Salla Fagerström, Dawn Jani Birley, Debbie Z. Rennie (who also directs), and Deb’e Taylor, Qalb, A Journey of the Ego invites audiences to feel the power of live theatre in new and exciting ways.

Opening night lobbies are usually bustling with patrons, full of voices chatting with anticipation of the night’s programme. The lobby for Qalb is one of the most quiet lobbies I’ve ever been in, and yet there was conversation happening all around me; I just wasn’t able to participate. When folks were trying to find their seats, I realized that I wasn’t able to help them much, especially because I had my mask on and so couldn’t even mouth “that way” or “you’re welcome” to them. I felt helpless, and yet was glad to feel that way all at the same time. It’s such a jarring thing to suddenly be unable to communicate with the majority of the people around you, and yet this is what the Deaf community faces each and every day. 

Maryam Hafizirad, from the Canadian Cultural Society of the Deaf, has curated a stunning exhibit of Deaf artist Nancy Rourke’s work in the Tarragon lobby. Using only the primary colours, Rourke depicts her lived experience as a Deaf person in a way that is also particularly pertinent to the play. Many of the themes of the paintings, like dinner table syndrome and generational trauma come up in Qalb. The two media of expression work hand in hand to broaden our understanding of the oppression and challenges the Deaf community has faced while also celebrating the everyday lives, triumphs, and strong sense of identity they have as well.

Hafizirad’s ethereal set is beautiful and functional, providing space for projections in its design. The curtains of light fabric sway in the breeze on either side of a large white circle which acts as a backdrop for the action. Laura Warren’s projection design creates environments which engulf the stage in the elements, or bring the crushing realities of daily life to the forefront. 

Then there’s the drums; two drums sit in the back corner of the stage. The smaller drum has a higher timbre and rings throughout the space when it’s struck, yet you can only hear that drum. The larger drum, with it’s deep pulsing beat, can be felt. When the large drum is struck, you can feel the vibrations through your feet and chair. In this way, both hearing and Deaf audiences are able to experience the drums, and truly feel the heartbeat of the play. 

Dawn Jani Birley and Deb’e Taylor use every bit of themselves to tell the story of Qalb, A Journey of the Ego. Their physicality is impressive, starting off the production with a movement piece, later moving into intense fight choreography. The two work as both a single unit at times and opposition at the other, with Birley playing Qalb (heart) and Taylor playing Ego (head). They tell a story which is simultaneously unique to the experiences of a Deaf person but with broader themes which unite us all. Birley, true to her character, pours her heart out and discusses her Deafness and the impact it has on her life with staggering truth and frankness. Taylor interprets for Birley when they use ASL, staying behind the curtain to allow Birley to have the focus of the moment. Taylor is also a fierce drummer and in the scenes where she’s playing the Ego she’s not afraid to demonstrate the power our minds have over our emotions. Their passion for this project is infused into every moment, every bit of accessibility both on stage and off, and it makes Qalb the truly life-changing experience it is.

Qalb, A Journey of the Ego is going to stick with me for a long time; it further opened my mind and heart to the issues it discusses while also showing me how so many struggles we face are truly human ones. Unfortunately, this is a very limited engagement, playing at the Tarragon Extraspace until September 14th only, but I hope that it will have many more lives after this one. For more information and tickets, visit: https://tarragontheatre.com/plays/2024-2025/guest-presentations/qalb/

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Cover Photo: Dawn Jani Birley and Deb’e Taylor. Photo by Dahlia Katz.

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