Lianne Herbert
Lianne Herbert 


Deafinitely Theatre


4Play 2013: The Door


The Door was directed by Ramesh Meyappan with Lina Kankevicute acting.


Deaf Capital




Lina Kankevicute, the actor, wrote her review:


'The play was using simple choreography and metaphors. No props – just a door, a teddy bear, some thread and needles. I was the only and main character to convey this awful story although the presence of a brutal man was recurrent. Who was he???… Father, brother, boyfriend, neighbour??? It is for the audience to decide…'


4Play 2012: TwentyFortySeven 


TwentyFortySeven was directed by Caroline Parker with actors Sophie Stone and Daniel Alan Roberts. 


Disability Arts Online


Charlie Swinbourne wrote the following review for my play:

‘After the interval, two plays offering some light relief arrived. Lianne Herbert’s ‘TwentyFortySeven’ is a satire set in 2047 that turns the world on its head by painting a picture of a dystopian (or possibly utopian, depending on which side you’re on) world where a deaf government has taken over, banning speech.

Soon, a young couple are forced to improve their signing to a level that is deemed acceptable by the authorities. Several scenes are laugh-out loud funny and the reversal of the expected cleverly leaves you considering our own world. The concept is fantastic, and I would say that Herbert is a writer well worth watching.’


Stage & Sign


‘Lianne Herbert showcased her first play “TwentyFortySeven” this year. A fantastical look into the future where a Deaf government rule and speech is banned. Overall there was quite a dark feel to this piece (although it might be because I was watching from a hearing perspective) with some comic relief moments that made the finale seem even more brutal. I could absolutely reminisce to when I first started learning to sign and like the character of Dan used slow, exaggerated hand movements, chopping and changing between left and right hands and getting my vowels mixed up.’




A review by Donna Williams:


‘The next two plays were much lighter, and being a sci-fi nut, I really enjoyed Lianne Herbert’s TwentyFortySeven, which turned the future on its head with a deaf-led government. Some moments were hilarious, with just enough dark undertone to keep it real.’ 

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