Your points are well taken.

The whole arguments not only address the economics of Deaf Theater in particular, but of theater in general. Most hearing theaters fall by the wayside due to lack of funds. Its worse for Deaf Theaters.

Which beg the question: “Who owns Deaf Theater”?

My own definition of Deaf Theater includes:

Storyline includes a main “deaf theme”, or issues related to our deaf people, our language, our culture.

Deaf Theater is performed by mostly deaf actors/actresses.

ASL is the main mode of communication.

The theater presentation is targeted for a Deaf Audience.

Hearing people are welcome to enjoy the theatrical experience.

SIGN ME ALICE, CHILDREN OF A LESSER GOD & Willy Conley’s BROKEN SPOKES fit this bill.

ASL Theater, on the other hand, is “theater using ASL” as the main mode of communication.

Actors can be deaf or hearing. Even all hearing!

Any play or musical, etc. that is signed in ASL foot this bill.

You are right that BIG RIVER was at times difficult to be understood by the Deaf audience members. Our “slower signing language” was “hijacked” by “major hearing culture”.
(pardon the pun) But I found the overall experience of BIG RIVER enjoyable.

I label BIG RIVER in the “ASL Theater” category. (none of the storyline or songs related to Deaf Culture issues…)

The Deaf Musical

As a Deaf Playwright who wrote (and is still revising) DEAFIA, a Deaf Musical, I face challenging issues in making DEAFIA “attractive for both deaf and hearing theater goers”. (I also want to clarify that I wrote and staged the original DEAFIA back in 1977, and it was not related to the DEAFIA show performed at Deaf Way II)

I’m satisfied with the storyline. It includes the story of Chicago’s Mafia screwing Deaf People in order to inherit millions in phony insurance claims, and GLORIA’s (Deaf Bookeeper)forced contract. The Deaf create DEAFIA and battle it out with Chicago’s Mafia to free GLORIA amd to remove the oppressive yoke of Chicago’s gangsters. Our fight for freedom “to be” ourselves and pursue our own dreams.

This staged comedy drama has to “be funny and inspiring to watch” for both Deaf audiences and Hearing audiences alike. I think DEAFIA meets that challenge.

However, as a “Deaf Musical”, it poses additional challenges for me as a Deaf Playwright. With the originial DEAFIA performances we used audio recordings of popular songs & music in the play.

I eliminated them, and am trying to replace “hearing people’s songs/poems” in exchange for “deaf people’s songs/poems” that address our issues of survival as Deaf People in the Chicago Mob controlled world. All the new songs/poems relate to our Deaf & Hard of Hearing people’s experiences at that place and moment in life. And all of our songs/poems are expressed in ASL. ASL Jazz… night club style.

Then there will be the mountain of a task to find hearing lyricists, Jazz musicians and voice singers willing to work with our “Deaf songs/poems”

Remember, most hearing people’s songs are based on “audio rhythmn”… words to songs that have lines that might end with “car…bar…far”, etc. Often these “hearing culture” songs wreck havoc when tried to be performed in ASL.

But if Deaf Theater want to use hearing peoples songs, then there’s the challenge, and we often have to “cowtow” to the set audio recordings or the voice singers on stage. Everything strictly structured to micro-seconds in timing.

I grew up observing the beauty in Deaf Culture ASL expressions of songs/poems. Truly awesome experiences of a “enthralled, spiritual nature”.
But I see very little of the beauty of ASL songs/poems on stage today.

With a Deaf Musical Comedy like DEAFIA, we are trying to present “the best of ASL & Deaf Culture songs/poems” in its show. The best of Deaf Pride.

But finding key people from both cultures willing to work together in a professional manner is the challenge. We made their songs “presentable”. Are they going to make our “deaf songs” presentable in voice singing? Or are they going to resort to… “hearing people don’t do that… that’s not the way its done…” (sounds of song sheets being ripped up) attitudes?

So these are some of the challenges we face in presenting a professional Deaf Musical performance that will be exciting for both deaf and hearing theater goers.

And this is just one piece of the whole pie!

Where’s the funds to present professional Deaf Musical Comedies?

This puppy is huge! But if done right, it will certainly FLY!!!!

Ray

Thanks for sharing the link, I plan to see the performance this weekend.

http://www.theeagleonline.com/.....online.com

my next project will be in spring 2008 (auditions in fall 2007).

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Deaf theatres must go back to their heydays of focusing largely on deaf audience, not hearing ones! Hearing people come to see the REAL deaf stuff, not improvised stuff for the sake of their own!

We, deaf people must STOP pandering to the hearing people and forget our own way of life for creative expression!!!

That’s why I already lose my personal interests in seeing any *sh**ty Gallaudet theatre productions. For past 10 years, those productions were so boring and predictable!!

Of course, we prefer cozying up in our own castle and watch DVDs at our own convienence and speed. No question about how impatient we become for past 10 years due to the availability of home entertainment - choices of movies to see on clear crystal tv screens, etc.

Deaf theatre must re-invent themselves with bold ideas and approachs to attract the members of community at large on regular basis!!!

“Audism” Monologues was one of best DEAF theatre production in last ten years!!!

Robert L. Mason (RLM)

Robert L. Mason

My best theatre experience was at MSSD, being a part of the MSSD Road Show. Sure, we did songs but they were fun and involved dancing or mime. We also did ABC stories, mimes, etc. The MSSD Road Show took its final bow at the end of my junior year, no thanks to JKF. However, that’s water under the bridge right now. ;)

As for Deaf playwrights, Willy Conley has written some great plays. One of which (”Broken Spokes”), I used for my final theatre project while at UVM. The Deaf community in Vermont really enjoyed it because they could relate to the deaf characters. The hearing community also enjoyed it because of the sign mimes (which were not voiced) and they were able to get a glimpse of the DEAF-WORLD.

I really like the idea of a play performed entirely in ASL and captions being provided for the non-ASL users. Next spring I will be involved in a play written by a deaf playwright (who ironically wrote a musical but most of the songs have been omitted by the director). I’ll be sure to let the director know of this captioning option. =)