[Two
schools of thought in teaching the deaf arose in the 19th century in
Washington, D.C., symbolized by the leaders of those two intellectual streams: Alexander
Graham Bell (1847-1922) and Edward Miner Gallaudet (1837-1917). Bell, the
inventor of the telephone, first became known for trying to find ways for the
deaf to communicate and Gallaudet took the idea further, believing that the
deaf, like people with hearing, could manage advanced education. Gallaudet was named the
first principal of the Columbia Institution for the Deaf and Dumb and the Blind,
later renamed first Gallaudet College and now Gallaudet University, the nation’s, and probably the world’s,
premiere higher-education institution for the hearing-impaired. The
conflict drew in the First Lady of the United States, Caroline Harrison (1832-92;
wife of 23rd President, Benjamin Harrison), who’d been a music teacher, as well
as the most famous of all the deaf students, Helen Keller (1880-1968).
[This
historical tale is the subject of an unusual play, Visible Language with book and lyrics by Mary Resing and music by Andy Welchel, told
musically in both spoken English and American Sign Language. WSC Avant Bard, a 24-year-old troupe
(formerly known as the Washington Shakespeare Company) specializing in classic
theater, and Gallaudet University’s Theatre and Dance Program co-produced Visible Language and WSC Avant Bard artistic director Tom Prewitt directed. All performances of the musical, performed at
Gallaudet from 21 October to 16 November, were in ASL and spoken English, and
all were captioned.]
“A D.C. FEUD ON
HOW TO TEACH THE DEAF TAKES CENTER STAGE”
by Celia Wren
[This
article appeared in the “Arts & Style” section of the Washington Post on 26 October 2014.]
Sometimes, a
historical showdown begets memorable theater — think of the political struggles
recalled in Shakespeare’s history plays, or the courtroom clash that inspired
“Inherit the Wind.”
Now a new work is
joining the canon of dramatized historical conflict. “Visible Language,” a
world premiere musical in American Sign Language and English, evokes a famous
1890s blowup between Edward Miner Gallaudet and Alexander Graham Bell over
methods for teaching the deaf. With a book and lyrics by Mary Resing, music by
Andy Welchel and a cast of deaf as well as hearing actors performing in ASL and
English, the musical runs through Nov. 16.
“Visible Language”
tells a D.C. story: Edward Miner Gallaudet was the first president of the
college that became Gallaudet University. Bell, better known as the inventor of
the telephone, also worked as an educator of the deaf; he lived in Washington
for part of his life. The disagreement between the two hearing men laid out in
Washington’s political circles: Gallaudet advocated for the use of sign
language in --deaf education and communication, while Bell believed it was
critical to teach the deaf to speak and read lips.
The heart of
“Visible Language” is “this ideological battle over the future of deaf
education. And we see that play out between two strong-willed men in
Washington, D.C.,” at a time when the city was coming into its own as a locus
of power, says Ethan Sinnott, director of Gallaudet’s theater and dance
program.
It’s an inherently
dramatic story, but Resing says she stumbled across it only after Open Circle
Theatre asked her to pen a musical that featured both speech and ASL. It wasn’t
terra incognita for Open Circle, which focused on including people with
disabilities in professional theater and which mounted a 2007 version of Jason
Robert Brown’s “Songs for a New World” that made use of ASL.
Resing has a passion for dramatizing local stories, an
interest she pursued as artistic director (until 2013) of Maryland’s Active
Cultures Theatre. So to find a topic for her new project, she canvassed the
local deaf community, asking “What is the story that deaf audiences think needs
to be on the stage?”
“Unanimously, the response was the story of Alexander Graham
Bell and Edward Miner Gallaudet and the fight over speech versus signs,” she
remembers.
Resing came to realize that the quarrel between the men
reflected their different backgrounds as well as their educational outlooks.
Gallaudet’s father, Thomas Hopkins Gallaudet, had been a
pioneer of education for the deaf in the United States and a proponent of
signing. (He is Gallaudet University’s namesake.) Bell’s father, on the other
hand, had been a teacher of elocution who developed Visible Speech, a system
that broke speech down into elementary sounds and that proved useful in
teaching the deaf to vocalize.
Bell and Gallaudet both believed that they had the best
interests of the deaf community at heart, Resing says.
“Gallaudet advocated for sign language because it was very
easy to teach” and thus cost-effective, making it possible to educate “as many
people as possible,” she says.
By contrast, teaching a deaf person to speak can be labor-
and time-intensive. But, Resing says, Bell thought the practice was necessary:
He feared that reliance on signing would leave deaf people isolated from
mainstream society and economically disadvantaged.
Resing strove to reflect these issues in her book and lyrics
for the musical. Suzanne Richard, Open Circle’s artistic director, was for a
time attached to the project as co-director with Tom Prewitt.
Part-way through the musical’s development, Open Circle went
on hiatus. Prewitt was not willing to let the musical lapse, too.
After he assumed the artistic director post at WSC Avant
Bard in 2013, that company signed on as co-producer with Gallaudet.
Speaking in ASL in an interview at Gallaudet, with an
interpreter translating, Sinnott says he felt the project was a good one
because “Bell and [Edward Miner] Gallaudet are two iconic figures within the
deaf community, and, irrespective of whether history has a deaf or hearing
lens, there is always a tendency to mythologize and romanticize the titans of
an era.”
For instance, he says, many deaf people view Bell as “the bad
guy — the Darth Vader of this story,” because Bell was interested in eugenics
and how eugenic measures might lessen the incidence of deafness in the general
population. That line of inquiry can seem horrifying today.
At the same time, Gallaudet is “easily framed as a
champion,” which is simplistic in a different way, Sinnott observes.
“Part of the importance of this show and production is that
it challenges people to take a look at what actually happened rather than
subscribing to just the flat, non-nuanced” and “larger-than-life” versions of
the characters, Sinnott says. In general, he says, theater should push people
outside their comfort zones.
“Visible Language” may do just that with its approach to
bilingualism. The musical tells its story in both ASL and English without
recourse to role-doubling or translators who stand outside the world of the
story. Instead, Resing wrote scenes and songs in which deaf and hearing
characters converse in both languages. For instance, a scene chronicling a chat
between Bell and Gallaudet becomes bilingual because a deaf character, Ennals
Adams Jr., is present, and for his benefit, Bell and Gallaudet sign as they
speak.
But because there is no constant source of simultaneous
translation, the musical’s voiced and signed dialogue tracks sometimes diverge.
Occasionally, a deaf character will sign a witticism that a non-ASL-conversant
theatergoer may not understand, for instance. Deaf and hearing audiences who
are not fluent in the other form of expression “won’t have exactly the same
experience — but they will have parallel experiences,” says Prewitt.
The potential resonance of the strategy — and the related
logistical challenges — were evident at a rehearsal in early October. Aaron
Kubey, director of artistic sign language, and assistant director Tyler Herman
were polishing a duet that featured the characters of Helen Keller and Anne
Sullivan, Keller’s teacher. In the scene, the deaf and blind Keller (played by
Gallaudet graduate Miranda Medugno, who is deaf) and Sullivan (played by
hearing actress Sarah Anne Sillers) arrive in Washington. The two characters
express their excitement and anxiety in a duet: Keller signs, and Sullivan
sings words that are close to Keller’s but not identical.
During the rehearsal, Herman tried to sync the signing and
singing with the music. Meanwhile, Kubey urged Medugno to be more expressive
when conveying Keller’s bewildered reactions to the vibrations and smells of a
Washington train station.
In offering these suggestions, Herman spoke and Kubey
signed, and an interpreter translated each remark into the other language so
everyone could be on the same page. (Prewitt says two ASL-English interpreters
were scheduled for each rehearsal — standard procedure to accommodate
simultaneous conversations and interpreters’ need for breaks, he said.)
Kubey, as one of the key deaf artists involved in a
production whose writer, composer and director are hearing, was also keeping an
eye on a macrocosmic goal. As he put it in an interview, speaking through an
interpreter, he has worked with assistant director Charlie Ainsworth (who is
deaf) “to make sure that the deaf perspective is recognized, valued, and
accurately incorporated” in the musical.
Kubey’s additional duties include making sure that the actors
sign in a way that is consistent with their characters. An older, high-status
character would likely use a more formal signing style, whereas a young student
character might sign in a more casual way. The style of expression needs to be
as consistent as it would be in a speaking role. After all, “sign is our
voice,” Kubey says.
It’s all in service of the play’s broader theme, which, in
Resing’s words, is that “everybody wants to be heard, everyone has something to
say” despite “all the ways communication can go awry.”
“Communication is never simple,” Resing says. “It just
isn’t.”
[Visible Language ran from 21 October to 16 November at the
Gilbert C. Eastman Studio Theatre, Gallaudet University, 800 Florida Ave. NE. Visit www.wscavantbard.org or gallaudet.ticketleap.com.]
* *
* *
“COMMUNICATING WELL THROUGH SIGN AND SONG”
by Nelson Pressley
[This review was originally
published on 30 October 2014 in the “Style” section of the Washington Post.]
“I want to communicate,” goes an early chorus of the musical
“Visible Language,” and that fundamental message is delivered in song, American
Sign Language and supertitles projected above the small stage at Gallaudet
University.
That range of expression is the real drama of this
fascinating show, which hinges on the 1890s debate between telephone inventor
Alexander Graham Bell and Edward Miner Gallaudet, the university’s founder and
its president for decades. Bell, who also worked as an educator of hearing-impaired
people, believed that they should be taught to speak, and the less dogmatic
Gallaudet favored sign language. By mixing hearing and deaf actors in a
production that communicates in so many ways all at once, “Visible Language”
makes the debate engagingly immediate.
To be clear, this collaboration between Gallaudet’s theater
program and the 25-year-old WSC Avant Bard is far from the most polished show
in town. The acting is highly variable, the scenes move in blunt strokes and
the production makes a disappointingly dull villain of Bell, whose wife, deaf
from age 5, was taught lip reading and continued to speak.
Still, Mary Resing’s script and Andy Welchel’s bright,
jaunty songs (with lyrics by Resing) make plain how deep and personal the issue
is. A black student named Ennals, appealingly played by Aarron Loggins and
based on a real student at Kendall Green (as Gallaudet was known at the time),
is full of potential. Will signing — not speaking — limit the options of
students like him? Helen Keller, played by the wonderfully expressive Miranda
Medugno, arrives with Anne Sullivan (a nicely tart Sarah Anne Sillers), and
they finger-spell and sign, with Keller even taking speech lessons from Bell.
Perhaps Bell — the subject of a one-man dramatic bio by PBS
newsman Jim Lehrer last year — can’t help but come off as imperiously smug here
as he insists on audible speech, and actor Harv Lester doesn’t really come up
with more than one note for the role. In the teaching scenes with Keller that
include a quick sardonic chorus, Bell’s method is so time-intensive and
expensive (and unsuccessful, as dramatized) that it comes across as elitist.
The pupils, played by Gallaudet students, understandably resist.
If the drama sometimes flattens out, director Tom Prewitt’s
surprisingly big production is consistently multilayered. A four-piece band
(piano, bass, drums and reeds) is positioned above the small stage, and 16
actors play the historical figures and composites. By creating such a densely
populated village, Prewitt and Resing boldly explore the conflicts while
celebrating the variety of ways to get one’s message across. (Aaron Kubey is
credited as director of artistic sign language, which apparently draws from
older and current versions of ASL.) Everyone wants to be understood, and
“Visible Language” makes you want to lean in and understand.
[Visible Language: Book and lyrics by Mary
Resing, music by Andy Welchel. Directed by Tom Prewitt; music director, Elisa
Rosman; choreography, Tyler Herman; choreography for “I Want to Communicate,”
Kriston Pumphrey; scenic design, Ethan Sinnott; lighting, Annie Wiegand;
costumes, Elizabeth Ennis; sound design, Neil McFadden. Visit wscavantbard.org or gallaudet.ticketleap.com.]
* *
* *
[A
related theater event took place earlier this year at Washington’s Studio
Theatre. I think it’s appropriate to
look at this somewhat different instance of deaf actors and acting, this time
in a non-musical, and how hearing actors and directors work together with
hearing-impaired performers on the professional stage. The following article was originally published
in the “Arts” section of the Washington Post on 5 January 2014.]
“SENSE & SENSITIVITY”
by Peter Marks
A hearing cast and
crew working with a deaf actor in Studio’s ‘Tribes’ is an eye-opener for
everyone.
On the first days of rehearsal, when everyone tends to be a
little formal, anyway, Michael Tolaydo was conscious of dealing even more
gingerly with a castmate, Joey Caverly, because he is deaf.
“I think it’s part of my nature, but at the very beginning I
felt that I needed to treat or talk or ask questions a bit too carefully,” the
longtime Washington actor said of the settling-in period for “Tribes,” Nina
Raine’s comedy-drama of iconoclastic parents and drifting offspring, at Studio
Theatre. And why mightn’t he? Working with a deaf actor was, despite his many
years of service on the stage, new to Tolaydo, and it took a small amount of
contact to understand that interpersonally speaking, he didn’t have to adjust
much at all.
“What’s also been interesting is that I don’t in any way see
Joey as someone who’s ‘special,’” Tolaydo said, a few weeks into the rehearsal
period. “I see him as special as an actor. I don’t see him as special because
he doesn’t hear.”
It is noteworthy that in an art form so receptive to
experiments with language – and in a city housing the nation’s flagship college
for deaf students, Gallaudet University – the opportunities for hearing and
non-hearing actors to coexist onstage remain incredibly rare. Some troupes with
a heavy emphasis on the physical have made inroads in and around the city:
Faction of Fools, a commedia dell’arte company, is now based at Gallaudet and
offers some roles to deaf students, and the movement-based Synetic Theater in
Crystal City has cast actors who are deaf, principally in its wordless
reinterpretations of classics.
Limiting employment possibilities further is the reality
that few deaf characters find their way into mainstream plays, “Children of a
Lesser God” and “The Miracle Worker” notwithstanding. And even when they do – as
in the case of the recent Pulitzer Prize-winning “Clybourne Park” – the role of
a deaf person often goes to a hearing actor.
That is one reason that “Tribes,” a play that explores
family miscommunication in many forms – including in the way it treats a deaf
son – can be such an extraordinary crossover vehicle. The pivotal role of
Billy, the deaf young Englishman in love with a woman who is the child of deaf
parents and gradually losing her own hearing, has been going to deaf actors
since its world premiere at London’s Royal Court Theatre in 2010; a subsequent,
highly regarded off-Broadway production, which ran for nearly a year, featured
Gallaudet alumnus Russell Harvard as Billy.
In the Studio production that begins performances Wednesday,
director David Muse has followed that practice, casting Caverly, a 2011
Gallaudet graduate who played Billy last year in a production in Boston. And in
so doing, Muse not only is, like Tolaydo, collaborating with a deaf actor for
the first time, he’s also taking a crash course in how to make deaf artists and
audiences full partners in a theatrical venture.
For the 24-year-old Caverly, a native of Royal Oak, Mich.,
“Tribes” is that actor’s dream role, a meaty dramatic part in a rip-roaring
play for an influential company. To boot, the family dynamic Raine conjures
struck very close to home. He, too, is the son of hearing parents. “As a deaf
person, reading that play, it reminded me of my own growing up,” Caverly said,
sitting in a Studio lobby with an American Sign Language interpreter and some
other members of the production. “I mean, it gave me chills.”
Muse said he never seriously considered casting anyone but a
deaf actor as Billy. But fully integrating the performance of an actor whose
presence calls for additional pairs of ears and eyes in the rehearsal room
requires some stretching by a theater company. “It was a lot of work, even more
than I anticipated,” Muse said. “Much of it I’ve figured out as we’ve stumbled
forward.”
‘Living in the deaf world’
“Tribes” takes place in the London household of Tolaydo’s
Christopher and his wife, Beth (Nancy Robinette). He’s an academic, she’s a
writer, and both have raised their three children in a home of free-thinking,
progressive ideals. They’re such laissez-faire guides that they’ve never
bothered to learn – or to teach their deaf son – to sign, and in their determination
to treat Billy exactly as they do their hearing children (played by Richard
Gallagher and Annie Funke), we get a sense of the shortcomings of their
choices. It’s far from the only issue in the play, but in its examination of
the relationship between Billy and girlfriend Sylvia (Helen Cespedes), and
theirs to the rest of his family, Raine explores the emotional fault lines in
what Ben Brantley in the New York Times called a play “that asks us to hear how
we hear, in silence as well as speech.”
To help him with the play’s treatment of deafness, Muse
turned to Ethan Sinnott, chairman of the theater department at Gallaudet, who
in bringing Faction of Fools to the university campus was acting on his
ambition of finding more post-academic possibility for his students. Muse said
he’d learned that for rehearsals alone, he needed the services of not one but
two sign-language interpreters, so that they could spell each other and the
deaf participants in the show would not be left out of conversation at, say,
rehearsal breaks.
Katrina Clark, a hearing Washington actress fluent in ASL,
was hired as lead interpreter, with the responsibility of coordinating the
other interpreters; half a dozen would be required, both for the rehearsal
period and for deaf or hard-of-hearing audiences. During the run, 11
performances will be signed or captioned, and one will be described via audio.
And interpreters weren’t the end. “Ethan said right away,
‘Well, you need to have another member on the production, and you may not even
know it,’” Muse explained, recalling how Sinnott introduced the idea of
recruiting a director of artistic sign language, “as a bridge between
communities – a dramaturge of signing.”
The consulting position went to Tyrone Giordano, an actor
and yet another Gallaudet graduate who’s performed with companies such as Los
Angeles-based Deaf West Theatre, which among other achievements staged a highly
successful version of the musical “Big River,” with both hearing and deaf
actors. It falls to Giordano not only to make sure that the signing is accurate
and fluidly handled, but also to ensure that the experience of deafness is
accurately portrayed.
He’s a sort of ambassador of deafness. “Basically, I have to
make everything look authentic,” he said, through one of the interpreters.
“It’s the whole embodiment of living in the deaf world.”
His job was especially relevant for Cespedes, a hearing
actress who had never signed before being cast as Sylvia. “Tribes” presents
peculiar challenges to hearing and deaf actors alike. While Caverly has to
create the illusion that Billy knows only rudimentary sign language, Cespedes
has the opposite task: playing the daughter of deaf people, she must look as if
she has been signing all her life.
Studio enrolled the actress in a month of ASL classes in her
home city of New York and had her work with a private tutor, and then brought
her to Washington to spend a week at Gallaudet. A lover of languages, Cespedes
embraced the immersion, and her interactions with students helped her develop a
grasp of some of the nuances of a system of communication wholly foreign to
her.
“I would say that really, as a novice, what I’ve learned is
how it’s really in the face,” she said, of the act of seeming fluent. “How the
signer uses their face and doesn’t use their face is an instant giveaway.”
(Members of the production cited the debacle at Nelson Mandela’s funeral, and
the immobile face of the impostor at President Obama’s side, as an example of
exactly how not to look as if you know how to sign.) Giordano has been
Cespedes’s guide, using a video camera and other tools to help her refine her
technique.
“He’s been an incredible resource and teacher and helper for
me, and he’s made a lot of those choices about how we’re going to express
something,” she said.
Of her assignment in her scenes with Caverly, and being the
one who is supposed to be the authority on ASL, Cespedes laughed as she
recalled something the actor confided to her: “It’s my job to be bad,” he said,
“to make you look good.”
The give-and-take
At a recent afternoon rehearsal onstage in Studio’s Mead
Theatre, the cross-talk had an extra dimension. Muse sat in the front row,
presiding over a stop-and-go run of the opening scene, as Clark signed for
Caverly, seated at a long kitchen table with the rest of his dramatic family.
Giordano sat a few rows back, occasionally signing with someone on the other
side of the room.
“It’s ultimately about figuring out what the family’s like
and what Billy’s role is in it,” Muse said to the actors, before suggesting
that Caverly rise from the table, to separate himself and begin to give an
audience some sense of his isolation. “Feel free to take a little bit of focus,
if you know what I mean,” Muse said, as Caverly gazed at both him and Clark.
“Take a minute to establish yourself.”
Caverly, who explained in a subsequent e-mail that “due to
the emotional turmoil that the play has, it can be taxing on me,” was not
feeling this particular suggestion from his director.
“I don’t think I get up,” he said, through Clark. “I think I
settle down here.”
Muse dropped the idea and moved on. Reflecting on the
exchange afterwards, the director said Caverly “remains one of the most open
actors to attacking scenes in different ways,” but in this case seemed to think
the notion was stage-y. In the give-and-take, it was another learning moment
for Muse.
“I’ve found that in terms of adjustments I’ve had to make,
it really doesn’t have to do with the communication piece,” he said. “It has to
do with my paying attention to things I never had to before. For instance: Is
the shirt a signer is wearing patterned or solid? If you have too much pattern,
it can distract a deaf audience member. Or if there’s a big sequence of
signing, am I staging it in a way that it’s open to everyone in the audience?”
The practical concerns even apply to the seating at the
kitchen table. “Joey or Ty would say, ‘That’s not where he would sit.’ It all
has to do with the reality of a deaf character in that place,” Muse said. “And
when they say it, I think, ‘Of course!’”
[Tribes by Nina Raine was directed
by David Muse, Studio’s artistic director. It ran in the Studio’s Mead Theatre at the
Logan Circle home of the troupe from 8 January-23 February 2014.]
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