David Sands from Deafinitely Theatre on starring in the play Bull (BSL)

David Sands has been acting for more than 20 years, working across theatre, stand-up comedy and short films. He returns to Deafinitely Theatre for Bull, Mike Bartlett’s tense workplace drama about bullying, manipulation and power.

I caught up with David to talk about returning to Deafinitely Theatre, preparing for a challenging role, why Bull could strike a chord with Deaf audiences, and his advice for aspiring actors.

Can you firstly introduce yourself to our readers?

I am a deaf actor and stand-up comedian – I have been working in these areas for more than 20 years. I am also a writer and create short films.

Can you tell us about your role in this production with Deafinitely Theatre — who are you playing, and how do you fit into the story?

I am playing Carter – he’s the boss who gets to decide who stays and who goes. It is safe to say that he isn’t a friendly boss and not someone who cares about his employees genuinely.

Have you worked with Deafinitely before? If so, what brings you back to working with them?

I have worked with Deafinitely Theatre many times. The first production I was part of was Lipstick and Lollipops by Charlie Swinbourne in 2008. The last production was A Midsummer Night’s Dream at Shakespeare’s Globe in 2014.

I was invited to audition for Bull, because of the age range and skills required. I liked the look of the role, so I accepted the invitation. I was delighted to receive the part of Carter.

What is Bull about, and what sort of impact do you think it will have on deaf audiences?

Bull is about bullying and gaslighting in the workplace. It will give deaf audience food for thought, and I am sure that most of them will find it relatable. Not just in the workplace, but in other environments also. I have to add a warning, I think it might not be an easy thing for some people to watch.

Why should deaf audiences go and see the show?

It explores a topic that probably has rarely been looked into in the deaf community. I think it will be fascinating to watch how these people in the play behave.

Can you tell us how you memorise scripts? Are you a method actor, and what are your processes — if you have any?

I am not a method actor, I believe my style is more leaning towards Meisner. I wasn’t professionally trained, so I don’t have a definite method.

To memorise the script, firstly you need to understand exactly what has been written. Say the lines repeatedly over time, then they will implant themselves into your brain.

It always helps when you use lines on the stage with other actors, because the use of space and action will help you to carry your lines through the play.

Any tips for budding young actors?

Always grab any opportunities you see, any training and non-paid acting opportunities. If you want to be successful, you need to show your face around.

I started acting professionally at 17, but I continued to do non-paid acting working until my early 20s. Today I still do stand-up comedy without being paid in the hearing world, because it is the only way to build my experience.

Lastly, always be respectable and kind to others, if you want to be remembered. Whenever you work for a director, be a good soldier. Stay humble, always.

Although you always need to put yourself first, which means if something doesn’t feel right, you must protect yourself, because you belong to you.

What’s next for you after this?

I have no big plans at the moment. I will continue building my stand-up comedy career, because I want to go on to perform on bigger stages. Obviously, I will be keeping my eyes open for any further acting opportunities that may suit me. I am also a writer, so I might continue developing some of my own ideas.

Bull, by Deafinitely Theatre, is going to Birmingham, Manchester and London in September and October. For more details see Deafinitely Theatre’s website here.

Photography credit Becky Bailey.