NEA ROUNDTABLE: Creating Opportunities For Deaf Theater
NEA ROUNDTABLE:Creating Opportunities forDeaf Theater Artists
NEA ROUNDTABLE:Creating Opportunities forDeaf Theater ArtistsBy Martha Wade SteketeeA report from the NEA Roundtableheld January 20, 2016,at The Lark in New York City
Report on NEA Roundtable on Opportunities for Deaf Theater ArtistsMay 2016Produced by the NEABeth Bienvenu, Accessibility DirectorGreg Reiner, Theater and Musical Theater DirectorEditorial Assistance by Rebecca SuttonDesigned by Kelli RogowskiSteering CommitteeMichelle Banks, Mianba ProductionsJohn Clinton Eisner, The Lark, Artistic DirectorTyrone Giordano, dog & pony dc and Gallaudet UniversityDJ Kurs, Deaf West TheatreJulia Levy, Roundabout Theatre, Executive DirectorBill O’Brien, Senior Advisor for Innovation to the ChairmanWritten by Martha Wade Steketee and edited by Jamie Gahlon, Senior Creative Producer,HowlRound www.howlround.comThe Roundtable, January 20, 2016, was hosted byNational Endowment for the ArtsThe Lark, New York CityA note regarding terminology and the use of Deaf vs. deaf in this report: Regardingthe d/Deaf distinction, the rules are ever-evolving. Ideally, you would defer to whateversomeone identifies as, and the markers are varied. There are general rules for usage:whenever referring to a person’s identity, community, or culture, especially in connection withsign language, use the capitalized form, “Deaf.” This capitalization has historically been usedto emphasize the Deaf identity, a source of pride, and is distinct from the socially constructedpathological diagnosis of “deafness,” which carries stigma. Whenever referring to hearingstatus, you will use “deaf.” To further complicate things, there is no solid demarcation forwhere the capitalized marker “Deaf” came to be. It is generally accepted that Deaf culturebegan in America with the founding of the first Deaf schools in the early 19th century.202-682-5496 Voice/TTY(a device for individuals who are deaf or hearing-impaired)Individuals who do not use conventional print materials may contact the ArtsEndowment’s Accessibility Office at 202-682-5532 to obtain this publication in analternate format.Cover Photo: The Deaf West Theatre 2015 production of Steven Sater and Duncan Sheik’sSpring Awakening, directed by Michael Arden and choreographed by Spencer Liff. Pictured(counter-clockwise from bottom left): Treshelle Edmond, Ali Stroker, Amelia Hendley, LaurenLuiz, Kathryn Gallagher, Krysta Rodriguez, and Alexandra Winter. Photo by Joan Marcus
EXECUTIVE SUMMARYMore than fifty artists, administrators,academics, funders, and othersinvited by the National Endowmentfor the Arts (NEA) assembled in theBareBones Studio of The Lark at311 West 43rd Street in New YorkCity on the afternoon of January 20,2016 to discuss barriers, needs, andopportunities for American Deaftheater artists.The primary focus of the discussionwas the development and productionof plays 1) written by Deaf playwrights,2) featuring themes focused on thelives of Deaf individuals, and/or 3) thatcan expand meaningful employmentopportunities for Deaf artists (e.g.,actors, designers, directors, signmasters). All the sessions were plenaryand featured real-time captioning andsign language interpreters from SignLanguage Resources, Inc.Facilitated discussions addressedseveral issues and a pre-establishedset of specific questions. Ensuingconversations occasionally movedbeyond these categories.Identifying barriers in the field.Lack of infrastructure for home-grownwork developed by Deaf artists. Lackof collective employment opportunitiesfor Deaf artists. Perceptions andrealities of financial obstacles andincreased costs related to employingDeaf artists and accommodatingaudiences.Identifying pressing needs. Whatstrategies are there for increasingthe number of opportunities for Deafartists in mainstream theater? Howdo we encourage decision makers toconsider using Deaf artists, creatives,designers, and staff?Identifying conditions for growth,including audience development.What is Deaf theater? Why Deaftheater? What are the optimalconditions for the developmentof new plays that qualify as Deaftheater? What are the ways that Deafartists can collaborate with hearingartists? How can we increase fundingopportunities for new plays, Deaftheater organizations, and artists? Howcan we develop audiences for Deaftheater? How can we increase accessto all theater for both Deaf artistsand audiences? What value does Deaftheater bring?Next steps and action items. Howcan the theatrical community beinspired to support Deaf theater? Whatopportunities are there to developnew plays (e.g., pitch fests, workshopopportunities)?
“It’s as simple as going to your casting director andsaying: I would like to have disabled or Deaf artists comein for every show in the season. Similarly, demand thatour literary managers and directors of play developmentgo out and seek those plays, find out where are theybeing, where are the centers, where are those playsbeing written?”—Shirley Fishman, La Jolla Playhouse“What is important is to bring the Deaf artist in theroom at the point of originating the project, as part ofthe creative process. Invite us into the process at thebeginning stages.”—Alexandria Wailes, actor“I would like to see us collaborating rather thancompeting against each other. Let’s start collaborativeprojects together. When festivals are compiled, why nothave plays by Deaf writers? Instead of saying: you can’tbe a part of us, include us.”—Fred Beam, Invisible Hands6National Endowment for the Arts
INTRODUCTION AND BACKGROUNDGreg Reiner, director of theater andmusical theater at the NEA, opened theproceedings referencing the energyand hopes for Deaf theater awarenessinspired by Deaf West Theatre’sproduction of Spring Awakening, set toclose on Broadway January 26, 2016,and their production of Big River a dozenyears before. In the decade since BigRiver, no Deaf actors had appeared onBroadway until the Spring Awakeningproduction.performers on contemporary mainstreamstages.Ben Brantley contemplated theintertwined “nonhearing and hearingworlds” of Big River in his July 25, 2003New York Times review, and his analysisof the production as a moment “in whicha bridge is crossed into a different realmof perception” between the hearingand Deaf theater worlds resonatedthroughout the day.Beth Bienvenu, director of accessibility atthe NEA, provided some historical contextto the Roundtable. The NEA hosted aNational Forum in 1998 and a NationalSummit in 2009 on the topic of careers inthe arts for people with disabilities, andsupported 27 statewide forums between2002 and 2013 to serve artists withdisabilities in those states. The January2016 Roundtable participants were askedto assess the time period between 2003’sBig River and 2015’s Spring Awakening.Were expectations for awareness andunderstanding of Deaf theater artistsreanimated? What was the same, whatwas different, and how could the fieldharness the opportunity of attention upona quality piece of theater created by Deafand hearing artists for Deaf and hearingaudiences?[T]his adaptation of Twain’s epochalaccount of an American odysseymakes the crucial point that there’smore than one way to tell a storyand to sing a song. Though thecoordination and integration of signed,spoken, and sung language are surelya matter of great complexity, you’renever allowed to sense the effort.Charles Isherwood mused about thepossibly audacious choice of Deafperformers in a musical in his September27, 2015 New York Times review ofSpring Awakening, and affirmed formainstream theater audiences thepresence and importance of DeafDeaf actors in a musical? The prospectsounds challenging, to performers andaudiences alike. But you will be surprisedat how readily you can assimilatethe novelties involved, and soon findyourself pleasurably immersed not in aworthy, let’s-pat-ourselves-on-the-backexperience, but simply in a first-rateproduction of a transporting musical.DJ Kurs, Deaf West artistic director,moderated the event and providedcontext and background to start off thegathering. The focus of the conversationwas to “ensure the success of Deafpeople within the theater,” he noted. InNational Endowment for the Arts7
the American theater community toadvance these goals, bring new playsto diverse audiences, and engage thelarger theater field consistently toembrace the contributions from Deafartists at the highest levels.The Mark Taper Forum produced Mark Medoff’sChildren of a Lesser God—starring Phyllis Frelich(who won a Tony for her performance) and JohnRubinstein—as part of its accessibility initiative,supported by the NEA. Photo courtesy of theMark Taper Forumparticular, participants were directedto focus on the development andproduction of plays with severalshared attributes: 1) written by Deafplaywrights, 2) featuring themesfocused on the lives of Deaf individuals,and/or 3) that can expand meaningfulemployment opportunities for Deafartists (e.g. actors, designers, directors,sign masters). DJ reflected that theseattributes are “interconnected in a ballof wax and it’s hard to differentiateand separate these issues.” The grouptask was to assess how to encourage8National Endowment for the ArtsTyrone Giordano of dog & pony dcand a stage and film actor outlined abrief history of Deaf artists in theater,distinguishing the concepts of “Deafin theater” and “Deaf theater.” Thefirst documented performance of Deafpeople in theater was a pantomimeperformance in 1884. References inPlato’s Cratylus, a dialogue aboutlanguage, address the fact that ifhumans couldn’t speak they would usesigns or gestures used by deaf people,documenting that deaf people werevisible in society and had a versionof sign language. A 1783 poem “OnSeeing David Garrick” refers to adeaf audience member attending ahighly physicalized performance. Thesubstantial institutional expansion ofDeaf students in theater, Giordanooutlined, occurred at WashingtonDC’s Gallaudet University, with dramaevents documented as early as 1884,a drama club established in 1892, anda drama department founded in 1957with Deaf scholar Gilbert Eastman asits first chair.The play The Miracle Worker ran onBroadway in 1959 featuring a maincharacter played by actress AnneBancroft. Following this productionBancroft helped found the NationalTheatre of the Deaf in 1967 withDavid Hays, Bernard Bragg, and Dr.Edna Simon Levine. From there,several categories of Deaf work intheater were identified and
evolved. “Deaf theater” addressesDeaf issues and is typically developedfor Deaf audiences. “Sign languagetheater” utilizes signing to presentany sort of theater, whether or notthey concern Deaf issues, to bothDeaf and hearing audiences. Giordanoproposed using “Deaf in theater”as the broadest term where Deafcharacters or actors, designers,and other creatives are involved intheater. Most plays involving Deaf intheater are usually originally writtenin English and then translated intosign, “putting a Deaf face on it.” Thesetranslated works involved Deaf actorsand oftentimes hearing actors voicingfor Deaf characters to allow access forhearing audiences. Deaf West’s SpringAwakening, Giordano continued, withsome characters played in pairs of Deafsigning actors and hearing speakingactors, may present the most highlysophisticated “Sign language theater”work model yet, “because they broughtin Deaf and hearing people for aThe Roundabout Theatre Company/Deaf West Theatre production of Big River. Photo by Joan MarcusNational Endowment for the Arts9
specific reason and there is dramatictension between these characters.It’s not just a Deaf face layered on acharacter but a specific ideologicalchoice.”West Theatre Company to support thedevelopment of its production of SpringAwakening, and grants to severaltheaters for productions of the playTribes.In the 21st century, Deaf theaterartists have benefitted from socialmedia and increased awareness.For example, the Twitter hashtag#DeafTalent, was originally inspiredin early 2015 by the casting of ahearing actor in a Deaf role, to raiseawareness of the Deaf talent availablefor work in film, TV, and theater. Thehashtag is both celebratory and anadmonishment, Giordano noted, andhas been expanded to #POCDeafTalent,to highlight talented Deaf artists ofcolor. Giordano created an evolvingDeafTalent database that includes avariety of actors, performers, writers,and producers who are Deaf becausehe “was so sick and tired of the hearingworld saying ‘we can’t find any Deafpeople of talent.’” This database nowincludes over 400 people.Funding for theater involving Deafpeople has traditionally come fromearned income, private donors,foundations, and federal sources. TheUS Department of Education investedheavily in Deaf theater for manyyears, but after that funding sourcewas cut in 2004—the primary supportfor significant development in Deaftheater at the National Theatre of theDeaf, Deaf West Theatre, and othertheaters for nearly three decades—organizations have struggled to replacethis support from other sources. TheNEA funds Deaf theater programsthrough its theater and musical theatergrants, including a 2014 grant to Deaf10National Endowment for the ArtsMarlee Matlin in the Deaf West Theatre2015 production of Steven Sater andDuncan Sheik’s Spring Awakening, directedby Michael Arden and choreographed bySpencer Liff. Photo by Joan Marcus
IDENTIFYING BARRIERSIN THE FIELDAgenda Framing Questions Issues Lack of infrastructure for “homegrown” work developed by Deafartists. Lack of collective employmentopportunities for Deaf artists. Financial obstacles/increased costsrelated to employing Deaf artistsand accommodating audiences.Discussion ThemesLoss of Deaf community gatheringplaces. “Deaf clubs, Deaf schools, allthe gathering places where our culturethrives are places of engagement, butas we see, those physical spaces arediminishing in theater. We’re seeingDeaf individuals being lost in society,not able to find a place where therest of their culture thrives.” —EthanSinnott, GallaudetTraining opportunities. Artists oftenneed to obtain services, includinginterpreting, on their own dime. DeafWest’s summer school is one accessiblesource of ongoing professional actingtraining. —Alexandria Wailes, actressSupport Deaf artists’ play andexploration. “We need a venue toplay, to experiment, to discover. I needtheaters who are willing to sponsorreadings that are written by Deafwriters.” There is a glass ceiling for Deafplaywrights. “I can’t grow because I can’tplay. I need experimentation to grow.”—Garrett Zuercher, playwrightModeling normalcy and providingsupport for arts in education. Thenext generation needs role models tohelp Deaf students engage in the arts.“The Deaf are somewhat devalued,not seen as important within thesystem of education, not supportedby the government. There’s a pushfor normalcy. They forget about ourhistory, about Deaf people being asnormal as any other people, and theonly thing that we can’t do is hear.But with the support of access, wecan certainly function just as well asanyone else in this country or world.”—Harvey Corson, National Theatre ofthe DeafSelf-organizing and the role of theinstitution. “There does not seem tobe institutional support for the overalloutcomes that would create a differentworld. There has to be a power base, anonprofit. The individual problems thatpeople suffer are very hard to addressas individuals. Ultimately, there have tobe carefully articulated common goalsand some kind of institutional systemto try to achieve them.” —Jack Viertel,JujamcynNational Endowment for the Arts11
One show can change a theater’sculture. Roundabout Theatre Companyhas integrated content for Deaf audiencesinto their subscription programmingsince 1996. When Roundabout producedBig River in 2003, the additional costsof interpreters and other adaptationsfor Deaf performers and artists were“minimal compared to producing a bigmusical.” The show impacted the theatercompany profoundly. “It changed ourhouse staff, the administrative staff, ourunion staff who worked backstage sideby-side with Deaf actors and productionteam members, and everyone else whomakes up a production. How do weexpress in our not-for-profit communityhow profound this experience can be,how exciting it can be, how it can changea lot of people very easily?” —Julia Levy,Roundabout Theatre CompanyAttitude andcommitment versusexpense. SpringAwakening, one of itsproducers shared, boresome additional expensesas a result of its choiceto use Deaf actors, butthey were relativelyminimal. “It’s more theattitude towards it thanthe money itself. I don’thear the same resistancewhen importing a playfrom the UK and wehave all British actorsand they require housingand transportation. Theamount of money thatcosts, versus interpreters,or ASL masters, or anyof the additional staff,required so much less.12National Endowment for the ArtsIt’s about attitudes within the hearingculture and my fellow producers.” —KenDavenport, producerFor smaller organizations, on the otherhand, there is competition for resourcesof money, expertise, and time. “We’vehad a number of opportunities trying tomake things happen with Deaf artists,and those are very real barriers for us.” —Jim Nicola, New York Theatre WorkshopFor hearing directors, Deaf artists requireadditional time and personnel to conveyinstructions and observations (directorto interpreter to cast to interpreter todirector). “One moment may take longer,but once that was explained to me, itseemed like such a small obstacle toovercome for the end result, incredibleart.” —Ken Davenport, producerA performance by top New York artists whoseprimary language is American Sign Language,created by Other Voices for the After Sunset:Poetry Walk event by Friends of the High Line.Photo by JD Urban
Claims of expense are really fear, anotherparticipant noted. “We are afraid to dowhat you all do and we’re afraid becausewe were brought up to be afraid. We’realarmed in the presence of somethingthat’s deemed strange.” —Jack Viertel,Jujamycyncapital expense, or we say that the wholestaff at New York Theatre Workshoplearns ASL. But we have to remove thatsense that this is an extra burden. Thisis actually capital that we need to investin to have a fairer art form.” —Jim Nicola,New York Theatre WorkshopBuild community. The NationalTheatre of the Deaf has a historyof creating excitement by buildingcommunity around Deaf culture andDeaf expression, engaging peoplefrom the hearing community in deepconversation, reinforced by theConnecticut summer programs for artisteducation where failure is part of theprocess. “Every morning for the entiretwo years I acted in that company, wehad a six a.m. warm-up session wherewe exercised together and threw outideas. You have to look at the way inwhich you build community aroundstories and ideas that becomes a modelfor how people look at the stories thatturn into these other things. Otherwise,we’re talking about the barriers,problems, and the larger exigenciesof dollars and cents, but we’re reallynot trying to get inside the integralrelationships.” —John Clinton Eisner,The LarkASL translation availability. Aplaywright was surprised that she had topush to specify in a publishing contractthat both her new play’s ASL script andher English language script would beavailable. She sees the parallel texts asintegral and clearly of a piece. “We’re sosmart, we’re so committed, there are somany stories about the community thatwe have to get past some of that fearand really push out there.” —TsehayeGerlayn Hébert, playwrightResources. Resources include time andexpertise, reflected New York TheatreWorkshop Artistic Director Jim Nicola.“When we take on these challengesof inviting in a new community, ofbuilding and sustaining that, it’s buildinginfrastructure and expertise.” Nicola,inspired by NYTW’s plans for buildingrenovations, noted that there is moneyfor ramps and elevators. “Maybe we needto figure out how we make interpretersa presence in the infrastructure, as aLeadership commitment toinclusivity. “It’s as simple as going toyour casting director and saying: I wouldlike to have disabled or Deaf artists comein for every show in the season. Similarly,demand that our literary managers anddirectors of play development go outand seek those plays, find out where arethey being, where are the centers, whereare those plays being written?” Changerequires focused attention to the issue.“It takes a certain kind of mindfulnessand commitment and consistency, andthere has to be an artistic mandate.” —Shirley Fishman, La Jolla PlayhouseFilling seats is a net-sum game. “Weas a field are at our weakest when we tryto justify our existence as an economicengine,” Jack Reuler noted. There arestrategies to reach out and fill seats thatbuild audiences that address other goals.“People like to see themselves on stagereflected in a positive manner. If we’reNational Endowment for the Arts13
doing it in the work we produce andsolicit those audiences that would liketo see themselves and fill the otherwiseempty seats with those people, itactually is a net-sum game.” —JackReuler, Mixed Blood TheatreBalancing equity and quality ofinterpreting. Howie Seago, an actorwho is Deaf, disagreed with producersand administrators about the effects ofinterpretation costs. In his experience,inequities existed in pay scales (e.g.,he found in one case that a youngrehearsal interpreter was earningtwice what he was as an actor) andperceptions of relative costs (e.g., afriend used him once and provided arehearsal interpreter and then reportedthat he couldn’t consider Howie foranother role that season because theycouldn’t afford the interpretation costs).Seago also noted that skimping on thebudget can decrease thequality of interpretationprovided. “I’m the one thatsuffers, right? I’m gettinginterpreters who aren’tqualified and I had to sayto him, ‘I’m sorry I don’tunderstand’ and it left melooking inept.” —HowieSeago, actorDesigners who areDeaf need support too.Annie Wiegand, a Deaflighting designer, outlinedthe range of resourcesshe learned to rely uponin her graduate designprogram and found difficultto access in the workingworld. She works morehours than the actors, and14National Endowment for the Artsalso needs interpreters. The interpreterpay often comes out of her stipend. Shedoesn’t know who to ask for support.Pooling resources forinterpretation. Throughout the day,many creative solutions were proposedfor pooling money or expertise tomake interpretation less of a barrier.An actor who has worked in the UKreferenced the Access to Work programwhich provides accessibility support fortheater companies that hire artists whoare Deaf. Participants wondered if theremight be a US equivalent.“Start with a pilot city to see if it couldsupport some of our disabled artists inthat way, to make it easier for them towork, so that the onus would not be onthe theater company itself.” —ChristineBruno, Inclusion in the ArtsChristine Ellison Dunams and Gwen Stewartin the Roundabout Theatre Company/DeafWest Theatre production of Big River. Photoby Joan Marcus
TOPIC: IDENTIFYINGPRESSING NEEDSAgenda Framing Questions Issues What strategies are therefor increasing the number ofopportunities for Deaf artists inmainstream theater? Do we want to encouragepersuadable decision makers toconsider using more Deaf artists andstaff? Do we want to build a larger base ofrelevant plays and Deaf-identifyingplaywrights?Discussion ThemesCultural barriers. When hearingtheater companies work with a Deafactor, even when there’s an interpreter,there are still challenges. “Deaftheater and hearing theater functiondifferently,” described playwrightGarrett Zuercher. Companies needways of educating themselves in whatDeaf actors actually do. “We becomethe teachers, explaining all the thingsthat we need. For example, if we’restill on book, we can’t necessarily holdthe book in our hands while we sign.”Deaf actors translate from English intosign language. “When I get a script,I have no clue what it’s going to looklike, so my work is actually greaterthan a hearing actor who is learningthe script.” “Most theater companiesexpect the Deaf actors to meet thehearing company on their level. I’d lovethe hearing companies to meet theDeaf actors in the same way, so thatour cultures can connect.” —GarrettZuercher, playwrightDeaf artists need to be fullcollaborators. To move past symbolicDeaf involvement, projects shouldensure that Deaf artists are part of theartistic team from the outset. “What isimportant is to bring the Deaf artist inthe room at the point of originating theproject, as part of the creative process.Invite us into the process at thebeginning stages.” It makes everyone’slives easier. “Maybe it isn’t all aboutinterpreting. Maybe we bring someonein fresh out of a university programwho can help us through the rehearsalprocess, someone to transcribe, takenotes for us. We can be creative aboutways to work together. I think it’s amind shift more than a logistics shift.”—Alexandria Wailes, actorDeaf artists of color feel isolated.People of color should be considered“for any role, in every audition, andnot just a role that’s designated fora person of color,” commented FredBeam from Invisible Hands. How canwe change our approach to be moreinclusive when we’re selecting Deafartists?National Endowment for the Arts15
“Are we looking at the role, or are welooking at the natural talent? We needto do something different and creativeto bring in more actors of color onstage.Think outside of the box. We want torespect the community - the talentedactors of color. The audience members,especially blacks, would like to haveconnection and identify with theactors on the stage. If black audiencemembers are seeing more white actorsonstage, it’d be harder for them torelate to the characters they portray. Sowe need to include more Deaf actors ofcolor.”—Michelle Banks, MianbaProfessional theater interpretertraining. “The National Theatre of theDeaf was established as a professionalschool for Deaf and hard of hearingartists, as well as interpreters fortheater, whichis quite special,not just regularinterpreting. Weneed to makethese changespermanent.” —Harvey Corson,National Theatre ofthe DeafIncreasing Deafplaywright andactor pools. “Howwe get more writers,get more work foractors, rolls up intothe pressing need inthis community formore playwrights.If you’re planting agarden and you wantmore cucumbers,you don’t put16National Endowment for the Artssomething on the leaves, you go tothe roots of the garden and plant adifferent seed. New playwrights todaylead to so much more work and somany more productions tomorrow.”Quality will lead to productions. “Greatwork gets done. That’s the simple endto it.” The need simply stated: “Themost pressing need I see as I look atthis from the hearing world is moreDeaf plays.” —Ken Davenport, producerThe importance of trust. Creatingoriginal work requires “using a coregroup of people who trust each other.”Inspiring new work involves trustingexperimentation. “If you’re trying tobring Deaf artists into hearing theater,or bringing hearing artists into a worldof Deaf culture, we have to comeup with a strategy where at a veryAndy Vasnick at the 2010 Deaf EmergingArtist Festival (D.E.A.F.) at IRT Theater inNew York City. Photo by Beth Dixson
basic level people feel comfortableand relaxed around each other.Whether that’s a play lab or a programdeveloping plays that allows people toexperiment and fail.” Theater creationat dog & pony dc, noted TyroneGiordano, starts with a concept. “Wehave people in a room together, andeventually at some point we create aplay. It’s not just about it being playcentered; it could be the end result notthe beginning. The beginning could bea collaboration.”Captioning and looping. Loopingsystems, which enable amplification inauditoriums and other public spaces forhearing aid or cochlear implant users,are required by some jurisdictions,but they only address the hard ofhearing. Current regulations, then, arelimited and limiting. “We should havecaptioning or some other system thatallows if you are hard of hearing or ifyou are deaf to come to our theaters.If a play is written and nobody comes,or your play is on stage and nobodycomes, did the play happen? We needaudiences.” —Julia Levy, RoundaboutTheatre CompanyOn the other hand, there’s the exampleof a small theater that included closedcaptioning without consulting thelocal Deaf community, frustratingDeaf audiences because they tookaway the sign language interpretationand projected the captioning too farfrom the action on the stage. “Arewe becoming script readers in thetheater?” —Harvey Corson, NationalTheatre of the DeafMarketing Deaf dramas andmusicals. Lessons learned throughoutthe production of shows like Big River,Spring Awakening, and Tribes needto be documented. With Big River,Roundabout wrestled with definingand promoting a Deaf musical, andparticipants saw the need to capturethe Spring Awakening story as it washappening. “What can we do now thatit’s fresh in our minds to understandthe specific efforts of marketing theseshows, so that the next time there isa show, we understand how to attractaudiences.” —Julia Levy, RoundaboutTheatre CompanyFor Deaf theaters and hearing theatersbuilding relationships with the Deafcommunity, “You need to have a Deafstaff person to advertise the show.”Theaters need Deaf people involvedin developing sales strategies. “It’sa mutual relationship. It’s not justenough to advertise to say you shouldcome to us. There has to be a reason.”—JW Guido, New York Deaf TheatreLeadership of Deaf theater. Healthyorganizations like dog & pony dc andDeaf West lead to the proliferationof artistic directors and leaders in allaspects of the field, who then populatethe staffs and stages of other theaters.“Validation by mainstream theatershould not be the end all. It shouldbe healthy Deaf theaters cr
brief history of Deaf artists in theater, distinguishing the concepts of “Deaf in theater” and “Deaf theater.” The first documented performance of Deaf people in theater was a pantomime performance in 1884. References in Plato’s Cratylus, a dialogue about language, address the fact that if humans couldn’t speak they would use
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