As productions re-open this fall, the global all-Deaf team is illustrating what Deaf audiences actually need to fully experience theater's vast stage canon.
, a selection dictated by their own interests and creative resources, but also legal obstacles around video and script rights, says Deaf Broadway director of ASL Joey Caverly.production, Caverly says, was “really heavily edited and rehearsed” compared to their other work.The cast and creative team recorded a straight run on Zoom for five of their virtual shows, ensuring everything went well before uploading it online, where it was made available to view for two days.
During the event, Deaf Broadway members had to parse out the musical’s story and dialogue with the help of hearing friends. Keeping track of what was happening on screen was an act made more difficult by Sondheim’s trademark dialogue style — a twisty combination of quick cutaways and overlapping lines.
“About 90 percent of Deaf children are born to hearing parents, and now during COVID, they’re stuck at home with no access to language, no language modeling, struggling to communicate, maybe in a household where they’re expected to lip read,” Zuercher says. Their virtual shows provide 20 native language models for children to watch from home, giving the performances’ audiences the “chance to see musicality and how it’s related to sign language,” McGinty adds.
Having the camera at the group’s disposal for Zoom performances helped make the show’s visual dialogue and sound clearer. But as the team convened over four weeks of rehearsals — first over Zoom and then in-person while abiding by limited room capacity and clear face mask COVID protocols — changes to those translations made more sense for the Lincoln Center event.
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