In this exclusive interview, we speak with Jasmine Whipps about her role in Bull, the incisive, razor-sharp drama currently running at the Birmingham Rep.
Written with blistering precision, Bull offers a strained and unsettling examination of workplace bullying, power dynamics, and survival. Set within the pressure-cooker environment of modern corporate culture, the play watches as alliances shift, latent cruelty surfaces, and a toxic system reveals itself—one where fear thrives and empathy completely disappears.
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| Jasmine Whipps and David Sands in rehearsals. Photo by Becky Bailey |
Both darkly funny and deeply uncomfortable, Bull lays bare the human cost of a working world driven by hyper-competition, rigid hierarchy, and complicit silence. We sit down with Jasmine to discuss how she approached this relentless story, what it takes to navigate its tense psychological terrain, and the central, chilling question at the heart of the production: How far will people go to protect themselves?
Isobel is described as observant, smart, and careful. How do you build a presence onstage that commands attention and conveys intense internal emotion even in moments of complete silence?
For me, silence is never empty. As a deaf actor, I use my face, eyes, body and movement to show what Isobel is thinking and feeling, even without words.
I watch the other actors and react naturally in every moment. Small changes in expression, posture, or a pause can say a lot. Sometimes doing less is the most powerful way to hold theaudience's attention.BSL is visual, and I love bringing that to the stage.
Bull examines a toxic workplace where alliances shift and cruelty surfaces to survive. How do you view Isobel’s motivations? Does she act purely out of self-preservation, or does she actively enjoy the power play?
I think it is both. Isobel is trying to survive. She didn't have a good childhood, so I think she has learnt to protect herself and not trust people. The workplace is full of pressure, and everyone is fighting to stay safe. But I also think she enjoys having power, especially over men.
For the first time, she feels in control, and that changes her. That is what makes Isobel so interesting to play. She is not just good or bad, she is a complicated person trying to survive.
Isobel participates in subtle psychological warfare alongside the other colleagues. How do you approach playing a character who inflicts emotional harm without coming across as one-dimensional?
By playing Isobel, I try to understand why she behaves this way and what has happened in her life that made her like this. I show her confidence, fear, and need for control. She has learnt to survive by hurting others, but there are still moments where we see her vulnerability. As a deaf actor, I think about telling the story visually, through my face, body and movement.I want the audience to see all sides of Isobel, not just the cruel parts.
The play lays bare the human cost of competition, hierarchy, and silence. How do you personally feel about Isobel's choices when reading or performing the script?
I have mixed feelings about Isobel’s choices. I don’t agree with the way she hurts people, but I can understand why she behaves like this. I feel sad for people like Isobel who are angry at themselves and carry pain inside, but end up hurting others because of it. I have empathy for that struggle, while still recognising that causing pain to others is not okay.
Isobel has learnt to survive from a difficult past, and she believes she has to be strong to avoid being hurt. Playing her helps me explore all these different sides. She is not just a cruel person; she is the way she is because of her past.
Deafinitely Theatre presents Bull using a distinctive bilingual style that incorporates British Sign Language (BSL) and creative captions. How does translating Mike Bartlett’s sharp, fast-paced dialogue into BSL alter or enhance the tension in the room?
The whole play becomes much more visual in BSL. The audience can see the emotions, facial expressions, and body language more clearly, which can make the tension feel stronger. The fast dialogue in the original play becomes more physical in BSL. The pauses, eye contact, and movement create powerful moments because the audience can see what the characters are thinking and feeling.
For me as a deaf actor, BSL is not just translating the dialogue; it brings its own energy and new style to the play. It helps show the emotion and power behind the words in a very visual way.
Deafinitely Theatre previously staged Mike Bartlett Contractions in 2017. As an actor, what do you think makes Bartlett’s dark, corporate workplace plays uniquely suited for a bilingual BSL/English adaptation?
Sadly, I didn’t see Deafinitely Theatre’s previous production of Contractions, but I think this play works really well as a bilingual BSL and English performance because so much of the story is about power, emotions, and how people communicate with each other. Bull is very visual. The characters are constantly watching each other, reacting, and using body language, so BSL brings another layer to the tension. The audience can see the thoughts and feelings behind the words. I think Mike Bartlett’s writing works well with BSL because the conflict is not only in what people say, but also in what they don’t say. The silence, facial expressions, and movement can reveal a lot.
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| Jasmine Whipps, Ciaran O'Breen and Danny Lee. Photo by Becky Bailey |
What has it been like working under the direction of Paula Garfield MBE to bring this dark, high- stakes story to life?
We are only just starting rehearsals, but it has already been amazing working with Paula. Having a deaf director is really special because she understands us, our experiences, and the way we communicate. We can have conversations about deaf culture, how we translate ideas into BSL, and what deaf people would naturally say or express. Paula also understands how to make sure the story is clear and accessible for the audience.
I’m really looking forward to working with the deaf cast and creative team. There is something very special about bringing this story to life together in an accessible way. It is so important to have deaf directors, deaf creatives, and deaf actors involved, because it creates a space where everyone feels included and can help make the best version of the story.
In a play about hierarchy, silence, and unspoken rules, how does BSL change the way power, intimidation, and body language are communicated on stage?
BSL makes the play more visual. Power and intimidation are shown through facial expressions, eye contact, body language and movement.
The audience can see the tension between the characters, even in moments of silence. Bull asks, Who gets to stay? Who is pushed out? And who decides? What do you think this play reveals about modern working cultures and the lengths people will go to protect themselves?
I think Bull shows that some workplaces can become very competitive, where people feel they have to fight to survive. When people are scared of losing their job, they might make choices that hurt others. The play questions how far people will go to protect themselves. It shows how power and fear can change people, but it also reminds us that we should be kind to each other, support each other, and not drag each other down.
The play is described as darkly funny yet deeply uncomfortable. How do you and the cast balance delivering the comedy while keeping the psychological tension high?
The play is funny, but it is also very dark. The humour comes naturally, so the audience may feel they can’t help but laugh, but underneath there is a serious message about power and how people treat each other.
We want the audience to enjoy the comedy while also thinking about the deeper meaning.
As an actor, presenter, and deaf awareness advocate, how does performing in a hard-hitting stage drama like Bull fit into your broader creative journey?
Being part of Bull is a really important and exciting step in my creative journey. As my first theatre production, it is pushing me to grow as an actor by taking on such a complex character like Isobel in a powerful and thought-provoking play.
It also gives me the chance to showcase the strength of deaf performers and BSL storytelling. I hope it helps audiences understand more about deaf culture and the importance of having deaf actors, directors, and creatives telling these stories.
For me, acting is about connecting with people, sharing experiences, and creating more opportunities for deaf voices to be seen and heard. Bull is helping me broaden my horizons as an actor, and I’m excited to see where this journey takes me next.
What was the first piece of theatre that made you want to become an actor?
The first piece of theatre that inspired me to become an actor was The Vagina Monologues in BSL. It was also my first real experience performing on stage, apart from an invite-onlyperformance at the National Youth Theatre. The show was about giving women a voice and talking openly about experiences that people don't always feel comfortable discussing. Being part of it made me realise how powerful theatre can be. It wasn't just about performing; it was about connecting with people and sharing important stories. That experience made me fall in love with acting.
As a deaf person, seeing BSL used on stage showed me that deaf stories belong in theatre too. It made me want to be part of creating more inclusive theatre.
What keeps you inspired?
What inspired me? I was interested in acting from a young age and tried auditioning for achildren’s role once, but when I didn’t succeed, acting slowly drifted out of my life for a while. When I was at secondary school, I was involved in a short film called Life and Deaf, which was a great experience for me. I also performed in a book launch with a deaf crew, which gave me the opportunity to perform and work with other deaf people. However, mainstream drama classes were not always accessible for me. I didn’t always feel included, and I felt there were barriers.
After leaving school, I started watching more high school films, and they reminded me how much I enjoyed storytelling and performing. That helped me reconnect with acting and find my passion for it again. I then trained with the National Youth Theatre at Rose Bruford College during their summer school, and took part in projects including a small role in Risking Money: A Romance Scam by Lloyds Bank Academy, Green Grass, and The VaginaMonologues.
What inspires me now is seeing more deaf performers represented in theatre and on screen. It’s exciting to be part of that change, create more opportunities for deaf actors, and show that deaf people belong on stage and screen. I want to see deaf representation continue to grow and reach more people.
What do you hope audiences, both deaf and hearing, take away after watching this production?
I hope deaf and hearing audiences leave the theatre thinking about the story, the characters, and the messages behind the play. I hope this play shows that we should be kind to others because we don’t always know what someone is going through in their life. It is not okay to pull people down to get ahead; we should support each other and work as a team.
For deaf audiences, I hope they feel represented and see that deaf actors and BSL belong on stage. For hearing audiences, I hope they experience the power of visual storytelling and understand more about deaf culture.
Bull runs at The Door at Birmingham Rep from 12th to 19th September 2026. For tickets and more information visit https://www.birmingham-rep.co.uk/whats-on/bull/
The show then runs at HOME in Manchester from 24th to 26th September and at Park Theatre in London from 30th September until 24th October 2026. For more information, visit https://www.deafinitelytheatre.co.uk/event/bull
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| Jasmine Whipps. Photo by Rosie Marks Photography |
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