Critical Acts 139 Acts Amidst this history, glimpses of the set are glimpses of the set Amidst this history, both the raw and restored spaces to stage the both the raw and restored and despair poverty, power, polarities of wealth, Before . of The Balcony enacted by the characters the audience is allowed the production begins, to roam the smaller rooms of the basement. by stone and we are surrounded As we wander, ensconced in the secretive chambers concrete, of Madame Irma’s brothel. visible to the audience: white fabric hanging from the ceiling of one room; cords of yarn basement halls. Nathalie Brilliant and Florentina Mocanu in ’s Figure 1. Penny and the Beggar perform a ritualistic encounter in the Old Mint The Old Mint, and Michael Hunter. The Balcony, directed by Jamie Lyons San Francisco, 4 February 2015. (Photo © 2015 Jamie Lyons) -

Today, the Old Mint stands as a Today, Rebecca Chaleff is a PhD candidate in the Department of Theater and Performance Studies at and Sexuality Studies. Her scholarship explores minoring in Feminist, Gender, Stanford University, climate. how choreographic legacies shape artistic afterlives within our contemporary neoliberal She has published several performance reviews in Performance Research and has received Graduate Fellowship and the Marilyn Yalom support for her research from the Ric Weiland Research Fund. [email protected] The Balcony sive production of The Balcony might begin. stone emblem of history in massive, San Francisco’s Civic Center dis- Although the San Francisco trict. Museum and Historical Society originally planned to convert the their plan landmark into a museum, was terminated before full resto- the Now, rations were complete. building is used for special events, only some of which are open to Although not all rooms the public. some still exhibit are accessible, remnants of the original damage. production uses Works’ Collected The first time I saw Collected Works’ produc- Collected The first time I saw (1956) was the The Balcony tion of Jean Genet’s San Francisco’s iconic first time I set foot in February 2015; wander- It was 14 Old Mint. I saw traces of history in cubes ing the halls, maps of memories I did not know, of glass, and pictures of a city so demolished by the it. 1906 earthquake that I could not recognize I discovered deeper remnants In the basement, of of that history in the marks that millions stone pieces of gold had imprinted against the where the stone gave There, walls. way to the gradual and persistent I began to imag- pressures of coins, immer Works’ ine how Collected The Virtual Cruelty of Collected Works’ The Balcony Cruelty of Collected Works’ The Virtual Rebecca Chaleff Fantasy on the Clock Fantasy on Critical 140 Critical Acts San Francisco,4February2015.(Photo©2015JamieLyons) The Balcony,directedbyJamieLyons andMichael Hunter. TheOldMint, while Rosinelooksonimpatiently. Todd PivettiandJeffSchwartzin Figure 2.Inabasementroom,theBishopceremoniouslydonshis robes tiple centuriesatonceandnolocationinpar and designofthisproductionreferencemul- were poisedtounfoldsimultaneously. The set meet. Inthissetting, past, present, andfuture everyday practicesofcharactersIhadyetto amorphous spacerichwiththememoriesand history oftheOldMinttowardsatemporally by theseobjects, myattentionturnedfromthe teries fortheaudiencetoexplore. Surrounded wooden cross, candles, ladders, andothermys- strung fromthewalltofloorinanother;a more thanaflexiblespace;italso complicates into itscourtyard. Butthe building­ a balcony)oftheOldMint, andevenstretches half floors(includinganadditional staircaseand locations. knack forsite-specificworksstagedinunusual young companybasedinSanFranciscowitha ical ofaperformancebyCollected Works, a ries yettounfold. ment becameacuriositycabinetfullofmemo- in yourlivingroomoramuseum. The base- styles; intheset, objectsyoucouldfindeither influences from19th-centurytocontemporary tions ofRevolutionaryFrance;inthecostumes, real andthevirtual. Inthedialogueareindica- the relationshipbetweentruthandillusion, the ticular; temporalitiescomingletocomplicate This creativestagingofTheBalcony istyp- The Balcony takesplaceontwoanda provides - ism of19th-centuryEurope. resistance totheburgeoningbourgeois capital- decrepit headquarterscallupthe historyof cries, andspiritedsongs they shareintheir political networks. power todisrupttheirdependencyoncorrupt of fantasiesinwhichtheymobilizefinancial dialogue. All thewhile, theyslipinandout count heapsofcashwhiletheycarryouttheir acters’ conversations. Inotherscenes, they There, currencyliterallyhangsoverthechar a greenvelvetcouch, itistheonlyadornment. lar billisframedaboveafireplace. Asidefrom walls andatilefloor, agiant, magnifieddol- room attheendofalonghall, withbrick designed by Angrette McCloskey. Inasmaller through thediegeticelementsofset, of performance. and futurewithinthemomentaryexperience histories present twined withtheirperceptionsofthemultiple ence’s imaginationbecomesirretrievablyinter this complexspatiotemporalfield, theaudi- this aspectoftheproduction. Immersedwithin within Bay Area historyimplicitlyunderscores glement ofcapital. The OldMint’sstature power andillusionbyemphasizingtheentan- Genet’s depictionoftherelationshipbetween Attention tocapitalisfurtherpronounced erences thehistoryof Western liberal capitalism. This stagingref- to critiquesofneoliberalaswell opening itspoliticalcommentary cialization atworkwithintheplay, this settingunderscoresthefinan- tion ofeverything” (2007:33), then neoliberalism isthe “financializa- today. If, asDavidHarveyexplains, text, theBay Area) experiencesit (and, morespecificallyinthiscon- on neoliberalcapitalismasthe West ity ofthestaging, alsocomments which, giventhetemporalflexibil- tured withinapowerfuleconomy, Mint, thecharactersremaincap- novel; theurgentplans, rallying have steppedoutofa Victor Hugo acters oftheplayseemattimesto valences. The revolutionarychar capitalism throughitstemporal Confined bythewallsofOld — histories thatbindpast - - - Critical Acts 141 - - Codirectors Michael Hunter and Jamie Hunter and Jamie Codirectors Michael The play officially begins in the basement ing the chambers of Madame Irma’s brothel and desire, we have entered a realm of fantasy, “while she says coyly, “Masturbation,” luxury. their side. The day the Palestinians become a become a The day the Palestinians their side. be there any- I won’t other nations, nation like Bharucha, For more’” 2014:41). (in Bharucha strug- to revolutionary Genet’s allegiance time,” “revolutionary plays within gle sets his Past that needs yoked to the “neither which is suspended in the endless nor to be reclaimed, in which much contem- deferral of the Future, The open (41–42). refuge” porary politics find therefore of The Balcony and flexible timeframe critique of power through underscores Genet’s temporal valences. the multiplicity of its and virtual memories, past Present actions, by structures of becomings are all oppressed power. political and economic launch from the play’s take a creative Lyons ambiguous timeframe and catapult the events into a temporal space that effectively lacks Although the play’s dialogue reflects specificity. the pro- the social politics of another century, duction’s design situates the contemporary refusing tempo- and the historic side by side, ral consistency: Madame Irma uses an iPad-like - tablet to keep track of her house; photog the raphers take snapshots of the General, and the Judge on their cell phones. Bishop, sty- Latifa Medjdoub’s costumes reference no the characters but clothe listic era in particular, - Each charac anachronistic details. in rich, but ter has the vague look of a different time, at all; appears tied to no time overall, the cast, dress while the Court Envoy wears a regal red the Chief of Police and Irma a tight corset, In sports a trench coat and Roger wears jeans. also plays an the Old Mint a similar manner, - important role in the play’s temporal ambi Although much of its interior has been guity. certain rooms remain untouched, restored, accented by a decay that marks the rupture of the building’s history. the Playing with the appearance of Carmen. char she is the only role of hostess and whore, acter who addresses the audience directly; gath- she explains, ering the audience around her, we how for the purposes of this performance, She tells us that in enter will navigate the play. - The Balcony attends best to the signi- The Balcony The Old Mint itself pivots the play at the itself pivots the The Old Mint in 1955 The Balcony Genet originally wrote directed , The first production of The Balcony . As Rustom Bharucha explains, As Rustom Bharucha explains, . The Balcony crux of a historical moment when the build- moment when crux of a historical of the strength into a signifier ing transformed a natural disas- of capital amidst and resilience to rubble and San Francisco ter that reduced and set pieces props, The costuming, embers. contemporary timeframe that reference a more recent source of vast eco- Area’s echo the Bay emphasis on technology nomic growth via an to the audience’s con- that connects the play crosses over itself to Time temporary milieu. of liberal capitalism cross-reference the history extinguished in its wake.and the revolutions it it is not his most popular Although in France. widely on global stages. it has circulated play, on the European conti- It has been produced perhaps most nent and off Broadway in the US, With famously by Peter Brook in Paris (1960). - a plot so complex it ultimately becomes sec ondary, In the midst of the fications of its characters. political turmoil the rebels have stirred while Irma, rallying to the defense of the oppressed. covets the the Madame of an upscale brothel, power of the Queen while the Chief of Police rev- rushes to her aid with plans to suppress the olution and solidify his control over the city. The Court Envoy protects the Queen’s power might by manipulating Irma into believing she the Judge, The Bishop, inherit that power. - and the General alternately assert their reli cowering and military power while legal, gious, beneath the weight of their inherent austerity. premiered in 1957 at the by Peter Zadek, Disappointed Club in London. Arts Genet tried to physically in the production, obstruct the continuation of the play’s perfor mance but was prevented from doing so by the mance but was prevented from doing so by the This story echoes with irony in relation police. like many of Genet’s to the play itself which, struc- comments on police brutality and plays, Genet’s lifelong contention tures of power. with the politics of power is expressly apparent in Genet’s ethics align with the oppressed only These eth- so long as they are oppressed. ics are explicit in Genet’s provisional sup- “‘Theport of Palestine: day the Palestinians be on I will no longer become an institution, 142 Critical Acts encouraged, isstrictlyprohibited.” © 2015JamieLyons) Hunter. TheOldMint,SanFrancisco,4February2015.(Photo Dunagan inTheBalcony,directedbyJamieLyons andMichael Scott Baker, Val Sinckler, FlorentinaMocanu,andLauren to MadameIrma,theCourtEnvoy, andtheJudge.Fromleft: Figure 3.TheChiefofPolicedescribeshisphallicmonument dox emerged:thiswasfantasyon theclock, paid finished, ortosaythattime wasup. Arichpara- way everysooftentoaskifthecharactershad not beenforMadameIrmavisitingthedoor time circledwithinthisperpetualloop, hadit tive continuity. Imayhavebeenconvincedthat again mademekeenlyawareoftheirrepeti- ambiguous. Watching thescenesendandbegin The startandendpointsappeareddeliberately another filteredin, andexitinghalfwaythrough. middle, stayingwhileonegroupfilteredoutand myself enteringtheotherssomewherein narrative sequence. After thefirstscene, I found move amongthefourscenes, craftingtheirown performance. Eachaudiencememberisfreeto ber loopscontinuallyduringthisportionofthe becomes clearthattheactionineachcham- mate groups;asthegroupspartcompany, it device separatestheaudienceintomoreinti- four scenesoccuronsimultaneousrepeat. This divides anddispersesintofourroomswhere and allpleasureatonce. and asharplyedgedblazer. Sheisallbusiness ­performance punctuatedbyskyscraperheels Tacata playsCarmeninaprovocativedrag 1. been confirmedby Ryan Tacata. The accuracyofthisquote,whichisnot ineitherGenet’sortheCollectedWorks’ scriptfor theperformance,has As perCarmen’sinstructions, theaudience 1 Ryan - consciousness, andvirtualaction bleedtogether of perception. Inthismoment, memory, and virtualareallexperiencedinthemoment (1896), HenriBergsonwritesthatpast, present, affect, andpolitics. InMatterandMemory analyzed thevirtualintermsofspace, time, enrapt intheillusionsofplay. those ofusintheaudiencewhohavebecome is exposedtobejustassusceptibleillusion corrupt figuresofbelief, justice, andwar. Each meta-­ and General. These threecharacterscarrythe into thevirtualfantasiesofBishop, Judge, but becauseeverymomentofthepresentblurs because eachsceneisplayedoutfourtimes, within MadameIrma’schambersnotonly by fantasysustainedcapital. Time loops ters heretoshowthattheirpowerissustained camp, Genetgatherstheselasciviouscharac- serve them. With an(in)appropriate dose of agine theworldastheybelieveitwouldbest Protected fromtheoutside, theyselfishlyreim­ circle withinthisunderworldofimagination. ment, militaryviolence, andreligiousbeliefall The structuralpillarsofsystemsmoraljudg- gilded cope, youprotectmefromtheworld.” Numerous philosophersandtheoristshave theatrical weightoftheplayasiconicyet he proclaims. “You, aboveall, oh ity. “Ornaments, mitres, laces!” his importanceandimpermeabil- dons hisholyrobestopreachof pink horse. Inanother, theBishop young womancostumedasabright designs afantasyofloyaltywith mercy. Inanother, theGeneral and promptedtocrybegfor a thiefisexposed, condemned, plays outacourtsceneinwhich with afemaleactorintherole) noun inGenet’sscriptbutcasthere Judge (referredtowithamalepro- cially corrupt. Inonechamber, the fantasy isbothmorallyandfinan- lessness of fantasy. liness ofcapitalexploitingthetime- success wasthusboundtothetime- for bytheminute. MadameIrma’s But intheworldofTheBalcony, Critical Acts 143 The Envoy reveals this distinctive power in The Envoy reveals this ily rearranges the flowers strewn alongside ily rearranges the flowers strewn alongside red Dressed in an extravagant Arthur’s body. tie the Envoy is the power felt dress and hat, reveal When pressed to to the political body. - the Envoy play the location of the Queen, “She is embroi- fully muses at her whereabouts. for it is the Envoy’s she tells Irma, dering,” duty to describe the Queen as well as to con- not “She is embroidering and she is ceal her: examines the She picks her nose, embroidering. she dries Then, pickings and lies down again. The Envoy flaunts her power by the dishes.” deliberately toying with the imaginations of Her playfulness Irma and the Chief of Police. reveals the ease with which she manipulates the Indeed, power is revealed in the hands of those power is revealed in Indeed, In the virtual. manipulate the who effectively the Judge, of Madame Irma’s house chambers feed their sanc- and the General the Bishop, simultane- with fantasies that tioned power and reveal their manipulations ously revamp Although Irma prides herself as of that power. in the end it of fantasy, being an adept exploiter holds the virtual reins is the Court Envoy who of power. in conversation with her very first appearance, Irma over the body the Chief of Police and dream- while Carmen Arthur, of Irma’s lover, - Figure 4. The Rebels, masked in Latifah Medjdoub’s renderings of Jean Figure 4. The Rebels, masked in Latifah Medjdoub’s enter their camp. From left: Genet’s face, serenade the audience as they Nathaniel Berman, Derek Phillips, and Jamie Freebury in Will Trichon, Mint, The Old and Michael Hunter. The Balcony, directed by Jamie Lyons Jamie Lyons) San Francisco, 4 February 2015. (Photo © 2015 - - - abandon luxuriate in The characters of The Balcony Capital looms throughout this staging the potentiality of the virtual to a dangerous the potentiality of the becomes so enrapt with Each character degree. future that they their imagining of a their actions cannot separate from More than in the present moment. a spatiotemporal field of possibil- the virtual then, ity and becoming, Carmen fantasizes is immobilizing. about the garden in which she will and throughout meet her daughter, the play drifts in and out of this vir Madame Irma scoffs tual comfort. but in so at Carmen’s musings, doing reveals her own fantasies of the Roger, power and pragmatism. dreams impassioned rebel, young, of toppling the powers that be with an ambition that is only thinly But if the vir veiled by romance. Roger refuses to ­ ruption. tual and never actual. aligning Genet’s cynicism with of the play, by the “met Clough’s claim that the virtual is (2008:3). reach of political economic capture” rela- this capture is located in the For Genet, tionship between the virtual and the desire Power corrupts the virtual while, for power. the virtual corrupts systems of power. inversely, to “create something new every moment” moment” something new every “create to Brian Massumi has More recently, (1988:223). of potential virtual as the realm described the tied Bergson Patricia Clough has (2002); and virtual’s poten- by arguing that the to Massumi temporality, on its specific tial is dependent and future into its present, which folds past, resonance (2008). temporally open affective Clough of the virtual, Theorizing the threshold “a chance space as presents this virtual affective (2008:19). new” unexpected, for something else, tual is a space of becoming, then tual is a space of becoming, these characters are only becom- ing more thoroughly entrenched in their present moment of social and political reproduction and cor Police The Chief of romance for rebellion. pursues his own ambitions despite his office, puffing on cigars while describing his beloved - Irma sacri dream of a phallic mausoleum. fices those she claims to have loved along her immoral pathway to power that is always vir 144 Critical Acts San Francisco,4February2015.(Photo©2015JamieLyons) The Balcony,directedbyJamieLyons andMichael Hunter. TheOldMint, currency. Fromleft:LaurenDunagan,JeffSchwartz,and JackHaltonin General standbeforeMadameIrma,flankedbymagnifieddepictionsof Figure 5.Inthefinalsceneofplay, theJudge,Bishop,and ters’ imaginations projectthemintoavirtual to Envoy. At various moments, thecharac- office, fromwhoretorebel Madametoicon Power circulatesthroughthese tiersofsocial exploits othersorallows toexploitthem. acters explorethevirtualinaway thateither in theroom, regardlessofwhethertheyare tors whileassertingherpowerovereverybody she makesusfeelasthoughwearecoconspira- through theaudience. With smilesandwinks, as theCourtEnvoyplayfullyweavesherway ing truthandliesthroughtheeyeletoffantasy she isnotsnoring.” The gamegoeson, weav- of Royalty, sheissnoring...shesnoringand in achest. Sheissleeping. Wrapped inthefolds answer doesnotattendtohisurgency. “She is answer. Iamnotamused...” ButtheEnvoy’s the ChiefofPoliceexclaims. “I wantastraight God! What haveyoudonewithHerMajesty?” she issaying, thrashinhervirtualweb. “By of Police, whoknowtheycannotbelievewhat ­possibilities ofthevirtual. IrmaandtheChief while ourmindsstretchtowardstheirfantasies. moment, clusteredaswearearoundtheirfeet of Police, feelpowerlesswithinourpresent time ofimagining, we, likeIrmaandtheChief As longastheEnvoycontrolsvirtualspace- standing nearthedoorwayorsittingatherfeet. Genet’s originalscriptshowshow thechar - capitulates toeconomiccapture. its chancetocreatesomethingnew. Instead, it the virtuallosespowerofitspotentiality, ject idleandcomplicit. Divorcedfromaction, able fantasiesandfuturesthatrenderthesub- The imaginationbecomesaspaceofunrealiz- ters intheiroriginalpositionsandfunctions. the virtualultimatelyentrenchesthesecharac- paints picturesforothersandnotherself, wish; butwiththeexceptionofEnvoy, who realm wheretheywieldtheirpowersas bles LaurenBerlant’smodelofcrueloptimism, between thepresentandvirtualresem- rity ofthisdesire. This circularrelationship desire forpower, butofthefutilityandfutu- ing allpossibility unrealized. possibility onlytocomerightback again, leav- and capitalhavesurgedforward towardsvirtual the endingitscharactersdesired. Time, power, are leftwithaconclusionthatscarcely realizes nothing new. At thecloseofplay’scycle, we all ofthepossibilitiesplaytolead her house;theCourtEnvoyhasorchestrated midst offantasy;IrmaismerelytheMadame same. Carmenisstillrunningaroundinthe the revolutionisdead, butallelseremainsthe characters. Intheend, theburgeoningiconof prise thevirtualityofplayimmobilizeits Genet’s playisacritiquenotonlyofthe and capital. controls themovementofpower virtual hasasystemicfunction:it achieving theobjectofdesire. The good life” preventsthesubjectfrom mism isthattheverydesirefor “the The crueltyofthissystemopti- too possible, andtoxic” (2011:24). be realization isdiscoveredeitherto conditions ofpossibilitywhose tral connectionto “compromised of attachment” foundedonacen- which shedescribesas “a relation ble ortoxic, thedesiresthatcom- without potential. Eitherimpossi- power andcapitalwithinavirtual moment, wheredesireentwines politics oftheplayintoourcurrent duction ofTheBalcony bringsthe bounds, theCollected Works’ pro- ness ofGenet’soriginaltemporal impossible, sheerfantasy, or Without abandoningtheloose- Critical Acts 145 by cross- representational In this production, gesture In this production, 1 Translated by W. Scott Palmer and Nancy Scott Palmer and Nancy W. by Translated Zone Books. York: New Margaret Paul. Duke University Press. London: Routledge. Theory, Bodies.” Biomedia and Political Economy, 1:1–22. & Society 25, Culture Press. Oxford: Oxford University NC: Duke Affect, Durham, Sensation. Movement, University Press. Journal of Emerging Dance Scholarship. actions are complicit with this production: in complicit with this actions are in time and in life, in art solemnity, play and in and in timelessness. reveals and attempts to subvert ­ 2015 at the Wallace Annenberg Center for the Wallace 2015 at the once and Arts in Beverly Hills, Performing - more on 29 September 2015 for the open ing week of the company’s limited Broadway in Theatre Atkinson revival run at the Brook City. New York References Matter and Memory. (1896) 1988. Henri. Bergson, NC: Durham, Cruel Optimism. 2011. Lauren. Berlant, . and Performance Terror 2014. Rustom. Bharucha, “The Affective Turn: 2008. Patricia T. Clough, A Brief History . Neoliberalism: 2007. David. Harvey, Virtual: for the Parables 2002. Brian. Massumi, Summer 2016. Review 60:2 (T230) TDR: The Drama Institute and the Massachusetts University York ©2016 New of Technology and - - , the vir , The Balcony first on Wednesday 3 June first on Spring Awakening Spring Awakening In Collected Works’ In Collected Works’ confronts the audience with a confronts the audience The Balcony has tumbled forward into revival of Spring Awakening Deaf West’s The fastest show ever to ascend to Broadway, Inner City Arts, through a short run at critical acclaim from its inaugural performance at the Rosenthal Theater at LA’s on 47th and Annenberg Center for the Performing Arts in Beverly Hills, to the the Wallace where it premiered 27 September 2015. Broadway, 1. tual becomes entangled in the temporal con- entangled in the tual becomes between play as the movement fusion of the of temporal way to the slipperiness tenses gives view- production, Immersed in the multiplicity. and the illu- in both the action ers take part they travel between scenes, as sion of the play, and surrender performers, brush up against the the characters’ fantasies. their imaginations to present, the slippage between a past, Within charged with desires for and virtual that are all the spectators’ protective power and capital, How easy it is for the spec- distance collapses. to become virtual spacetime itself, like tator, and production complicit in the consumption of capital. simple question: what makes you any different Although both the char from these characters? acters and the play position themselves within in the end they are all ideologies of resistance, - swept up in the perpetual production of cap their the audience must ask how In turn, ital.

Deaf West is a California-based theatrical West Deaf institution that has been modeling inclusion ASL/English theatrical produc- through Theatre West tions for close to 25 years (Deaf I attended the company’s production 2015). - of ’s and Duncan Sheik’s musi cal Sarah Wilbur Arts Sarah Wilbur is a cross-sector dance maker and doctoral candidate in the Department of World doing and Cultures/Dance at UCLA. Her research theorizes infrastructure as an embodied enactments examining the vocational maneuvers of lifelong dance artists and major arts policy include: across the 50-year lifespan of the US National Endowment for the Arts. Recent publications Performance Research, Art Health & the Military, [email protected] Gestural Economies and Production Pedagogies and Production Pedagogies Gestural Economies Spring Awakening in Deaf West’s 146 Arden; choreographedbySpencerLiff. and lyricsbyStevenSater; of Austin P. McKenzieandPatrickPage.TheDeafWest Theatreproduction about repressiveinstitutionalizednormswithindeafculture.Foreground: Awakening’ Figure 1.DirectorMichaelArdendeploys Critical Acts Spring Awakening attheBrookAtkinsonTheatre,NewYork. stream Broadway theatricalproductionshere social powerinlearningcontexts. Taking main- asks howritualizedactionfunctions toshape nography andpedagogicaltheory, McLaren the studyofsocialritualtoinstitutional eth- 1993). Extending Victor Turner’s advancesin norms withineducationalcontexts([1986] gesture producesmeaningandstructuressocial ysis toshowpedagoguestheextentwhich extends aperformancelenstoclassroomanal- McLaren’s 1986School asRitualPerformance an engineofembodiednormingandlearning. to PeterMcLaren’spromotionofgestureas larly productivetoconsiderhereinrelationship with gesture’sconstitutivepowerareparticu- ary logics(2008:ix–xxviii). Noland’sconcerns dard” routinesandchallengingtheirexclusion- semiotic andmaterialmeansofexposing “stan- the “pressuring” forceofgestureasbotha to drilldownwhatCarrieNolandhascalled material phenomena. ture asaconstitutive, communicative, and which wecantakeseriouslythepowerofges- of stream musicaltheatre. Deaf West’s revival and infrastructuralhegemoniesguardingmain- s schoolroomscenestoextendtheoverarchingmessage Spring Awakening servesasalensthrough This productionprovidesanopportunity music byDuncanSheik. (Photo ©JoanMarcus,2015) tactile contactinSpring Directed byMichael Book critically acclaimedrunattheBrooks Atkinson are establishedandmaintained. The company’s atrical productioninUS archies ofrepresentation, reception, andthe- demonstrate thepracticalmeans bywhichhier These layeredgesturaleconomies together grative musicaltheatreonacommercialscale. agogies asathreattofuturestagingsofinte- dependency onaudiocentricproductionped- ral andhumancapitalthatrevealsthetechnical ture todriverehearsalscostsproducerstempo- Deaf West’s infrastructuraldependenceonges- profit-driven contextofBroadwayproduction. places materialdemandsonthetime-stamped, employment ofteams ASL translatorsalso auditory downbeat. Offstage, thecompany’s performers tomitigatetheabsenceofashared real consensusamonghearingandnonhearing internal cueingsystemthattacitlybuildcorpo- and ASL translatorshavewovenintotheshow’s Liff actions —that ­gestures —imperceptible ture. Also onstage, thereareamultitudeof institutional normstotherealmofdeafcul- the piece’soverarchingmessageaboutfailed as asemioticanchortoeffectivelyextend itly trainsaudiencestotradesightforsound integration of ASL andtactilecontactexplic- pher Spencer Liff’s choreographic pher SpencerLiff’s tor ’s andchoreogra- onstage andoff. Onstage, direc- ical workintheshow, both formers, andproducers. of gestureplacesonaudiences, per that thecompany’smultifaceteduse piece, asIseeit, liesinthedemands archies. The hiddentriumphofthe subvert audiocentrictheatricalhier lation functionpedagogicallyto how touchand ASL gesturaltrans- gesture inSpringAwakening reveals onstage andoffstageworkingsof hearing people. A readingofthe foreclosed participationbynon- production thathavehistorically of representation, reception, and West’s work challengeshierarchies as curriculartoexposehowDeaf McLaren’s philosophyofgesture otic andmaterialconcernswith ested injoiningNoland’ssemi- as myinstitutionalaxis, Iaminter Gesture doesdifferentpolit-

commercial theatre - - - - Critical Acts 147 - re-train — in 2009, in 2009, at the Brook Atkinson Theatre, deliberately Spring Awakening As with Deaf West’s past musical produc- West’s As with Deaf placed on nonhearing youth and adults. The placed on nonhearing youth and adults. rel- original Broadway production had closed atively recently (in January 2009) when Deaf Wallace scaled-up second version at the West’s Arts in Annenberg Center for the Performing (21 May–7 June 2015) was picked up by L.A. producer Ken Davenport for a limited 18-week Theatre in New Atkinson run at the Brooks sub- (27 September 2015–9 January 2016; York the where sequently extended to 24 January), company’s approach has been drawn farther into the public spotlight. in 2013 and tions ( both directed by Jeff Calhoun), director both directed by Jeff Calhoun), Michael Arden’s integrates the nonhearing status of certain per formers into the theatrical plot to heighten ten- This integrative sions and miscommunications. casting results in an electrically charged move- signature West’s ment world fuelled by Deaf integration of ASL gesture and spoken/sung text integration of ASL gesture and spoken/sung - - - — and John Gallagher, and John Gallagher, premiered on Broadway (Photo © Joan Marcus, 2015) Jonathan Groff, Spring Awakening Spring Awakening formers who played its lead protagonists (Lea Michele, in 2006, winning eight and crit- Awards Tony winning eight in 2006, ical acclaim for its creative team (music by book/lyrics by Steven Sater, Duncan Sheik, Jones) and the per T. choreography by Bill controver Wedekind’s Based on Frank Jr.). audience reception in the reprise to the number “Mama Who Bore Me.” Clockwise from bottom left: audience reception in the reprise to the number , and Luiz, Katherine Gallagher, Lauren Amelia Hensley, Edmond, Ali Stroker, Treshelle Theatre production of Spring Awakening The Deaf West Alexandra Winter. . New York Theatre offers an occasion to reflect more of broadly on how mainstream theatrical rituals reception and production pedagogically exclude alternative West’s Deaf nonhearing publics. gestural economies — tacit and explicit — throw foreclosing theatrical practices into some much-needed relief. sial 1891 play about German youth awakening to the complexities of sexual desire and iden- revival meaningfully lever West’s Deaf tity, ages the piece’s core message of communicative and ado- parents, ruptures between institutions, lescents to illuminate normative constraints Figure 2. Deaf West’s signature bilingualism Figure 2. Deaf West’s 148 Critical Acts anchor inthe work. to foregosoundforsightasacommunicative this gesturalbilingualismre-trainsaudiences Arden’s directorialapproachevidenceshow tive congestiondemandedby Wedekind’s play. bilingualism thatheightensthecommunica- reographed action ­incorporation ofboth ASL gesturesandcho- mimetic propertiesof ASL signing (Armstrong andKarchmer2002:xi–xix). The and facemimicimagesfromlivedreality ing systemwhereinactionsofthearms, hands, sidered apictographicandnonalphabeticwrit- nonmusical stagework. ASL isgenerallycon- principal semioticengineintheirmusicaland alongside sung/spokentextasDeaf West’s majority ofdeaf Americans, anditfunctions ASL isthevisual-gesturallanguageusedbya and Pedagogical Force ASL asaRepresentational Explicit Gestures projected supertitles)restrictsthe gesticula- (played byhearingactorPatrick Paigewith classroom scenes, wherein theadultteacher municate isbrutallyrepresented intheplay’s people whodependontheirhands tocom- of thework. ing andsigningmeaningthroughoutthecourse the performers’handsarereservedfortouch- nal production. As thevisual “voice” ofthetext, sage ofyouthfulself-possessionintheorigi- literally andsymbolicallyamplifiedthemes- the deploymentofhand-heldmicrophonesthat demands continualuseofbothhandsforecloses and folkmusicalnumbers. That ASL gesturing ful charactersduringtheshow’smanyrock highlight theinteriorreflectionsofyouth- double castingandvoicedoubling, movesthat of certainperformersintotheplotlinethrough deliberately integratesthenonhearingstatus acknowledged byactorsoraudience, Arden is magically “understood” butnotreflexively of themoderncommercialmusical. and sightascorerepresentationalinstruments reception bycentralizinghandgesticulation that challengesconventionalmodesofaudience Awakening’s The deliberatecensorshipofnonhearing Unlike ASL productionswheregesture work politicalimportasapiece — a unique representational a uniquerepresentational

lend Spring student totracethemotionof his mouthwhile Steifel’s handstohisadultlips and forcesthe speaking as “correct” practices whenheholds the institutionalcommitmentto hearingand the institution. The teacher furtherpresses lent gesturesreinforcethe “upper hand” of ken prompts. Throughout thesong, suchvio- attempts tosignorsignalhisresponsespo- the topsofStiefel’shandswithaswitchashe also signs)whentheteacherrepeatedlybeats by Austin P. McKenzie, ahearingactorwho the hearingcharacterMelchiorGaborplayed ing thesong “All That’s Known” (sungby Stiefel’s nonhearingcharacteroccursdur the expressionofplay’syoungcharacters. teaching technologiesthatshapeandconstrain tions functionthroughouttheperformanceas 19th centuryeducationalreform. Suchinterac- reinforce theviolenceofaudiocentrismwithin latter’s hands, encumberingthemtofurther his controloverStiefelbyholdingtogetherthe musical, beating deployedinhearingproductionsofthe In additiontothespokenparrotingandstick driven byspeechandsoundasdominantsenses. failure toperformpedagogicalstandards educational failure, writtenintotheplay, asa schoolmasters toeffectivelysituateStiefel’s ing practicesthroughtactilemanipulationby pedagogical privilegingoforalandaurallearn- house scenesinSpringAwakening superior tosigning. Arden’s handlingofschool- by promotingoralismasapedagogicalpractice sought toreformdeafeducationinGermany Milan Conference, anationalconventionthat between Wedekind’s writingsandthe1880 Theater) revealedhistoricalconvergences 2014 atLA’s InnerCity Arts Rosenthal shop production(17September–9November research inpreparationforthe2014LAwork- during thewritingof Wedekind’s play. Arden’s of thepoliticsdeafeducationinGermany youth whilealsoavowinganactivedimension up theadultcharacters’effortstorepress forced speech, theschoolroomscenesplay aggressive manhandling, handrestraint, and Alex Boniello, whoalsoplaysguitar). Through ing actorDanielN. Durantandvoicedby character MoritzStiefel(playedbynonhear tion oftheunderachievingandnonhearing One momentoftactilecensorship Arden’s hearingschoolteachersustains plays upthe - - Critical Acts 149 pounds down into the crease of a bent right elbow pounds down into the crease “flip as the right hand performs a middle finger off” make Both hands to the audience. directly thumbs extended and pointing up as the fists, from the sternum across the chest beat knuckles extending outward. With nothing Ah... going Ah... Ah... Lyric: Nothing going on. on. the air fists and punch Hands make Gestures: - times alternating three left-right-left at vari Cross wrists in front of face targets. ous indirect - knuck into fists, clenched hands clasp, in a quick Hands handcuffs. out as if wearing les facing the clasp and both index open break and fingers in unison using strong and point forward fingers energy. direct Just the bitch of living. Lyric: and : Right and left hands crash Gestures - crev at the fleshy together momentarily stick Left fist the thumb and index finger. ice between of a bent right elbow pounds down into the crease “flip as the right hand performs a middle finger off” Both hands make to the audience. directly the thumbs extended and pointing up as fists, from the sternum beat across the chest knuckles extending outward. Figure 3. Gestural bilingualism in “The Bitch of Living” engages audience in “The Bitch of Living” engages audience Figure 3. Gestural bilingualism Seated, from left: members in a hypervisual search for plural meanings. McKenzie, Daniel N. Durant. Standing, from Joshua Castille, Austin P. Theatre The Deaf West left: Alex Wyse, Miles Barbee, . at the Brook Atkinson Theatre, New York. production of Spring Awakening (Photo © Joan Marcus, 2015) - I’ll describe this scene, I’ll describe this scene,

deliver a potent Six male cast members sit at three long It’s the bitch of living. Lyric: and : Right and left hands crash Gestures - crev at the fleshy together momentarily stick Left fist the thumb and index finger. ice between Whereas the classroom scenes Spring Awakening Spring Awakening briefly, in order to contextualize how the use of in order to contextualize how briefly, gesture signifies in plural directions. classroom tables angled toward the headmas- ter’s chalkboard as the song reaches its cli- They turn to face the audience mactic chorus. that repeat “lyrics” singing and signing directly, the song’s titular refrain: ing people by demonstrating how ing people by demonstrating as a ped- hand-holding functions for enforcing agogical instrument hegemonic norms around learning, and ability. literacy, of he recites the verse. Such hand- the verse. he recites gestures compound the to-mouth - rejection of sign lan institutional admissible means of guage as an That articulating “answers.” correct does this through touch the teacher in the and gesture is significant and deaf realm of deaf education cultural con- two , on hands texts where people depend Arden’s stag- to embody “words.” articulates a ing of classroom scenes knowledge and clear affront to deaf of nonhear the systemic oppression critique of 19th-century curricular norms through disciplinary gestures I find it equally productive and tactile contact, sym- to extend McLaren’s notion of gesture as to bolic pedagogy further into the performance show other points in the piece where gesture reverts dominant representational practices in conventional musical theater that foreclose The production’s nonhearing participants. “The Bitch iconic all-male ensemble number makes a particular purchase on sight of Living” - to implicate hearing audiences in the polic iden- ing of institutional norms guarding youth The spoken and signed action tity and capacity. outlined below, in the song’s repetitive chorus, engulfs audience members in a hyper-visual search for meanings. 150 Critical Acts Marcus, 2015) Brook AtkinsonTheatre,NewYork. (Photo©Joan Theatre productionofSpringAwakening in “TheWord ofYour Body.” TheDeafWest sync). AustinP. McKenzie(center)andcompany cues thatkeepthehearing/nonhearingcastin intimacy) andimplicitly(byprovidinghidden to signifyexplicitly(byreinforcingthemesof Figure 4.Musicalnumbersusetactilegestures with contradictions. The simultaneityofsung of visual, oral, and auralsignificancesrife ken andgestural “texts” institutesanonslaught The accumulativeeffectofthis barrageofspo- not touching thechest. toward thechest withthethumbsideleadingbut pinky extended. Pulsethisclenched gesture twice side, rightfistpartlyclenched withthumband face while thelefthandthrowsdownto Right handraises uptotherightsideof as theelbowsslamintosideofwaist. hooking indexfingers in, like questionmarks, index fingers away from thecenteroftorso, Gestures: WRONG?? Lyric: AskingWHAT? WENT? Both handsextendwithpointed at the ber “The SongofPurple Summer”: nonhearing actorsduringtheshow’s finalnum- shrug lishing agesturalcue podcast, Liffdescribestheprocessofestab- In aninterviewonproducerKenDavenport’s side viewers, keeptheactorsandmusicinsync. tact that, thoughbarelyperceptibletoout- of smallmovementsandtactilepointscon- have discussedthecompany’suseofhundreds views surroundingthework, Liffand Arden and nonhearingensemble. Inproductioninter the choreographicsynchronicityofhearing within theplay’sinternalcueingsystemassure municative strategies, smallpedestriangestures In additiontotheexplicitandtactile ASL com- in MainstreamMusical Theatre Disrupting Audiocentrism Tacit Gestures as abridgebetweenaudiencesandperformers. jected text, thecompanytradessoundforsight integration ofhandsigningandspokenorpro- conventional musicaltheatre. Through ritual as aprevailingschemadrivingsignificationin strategies denaturalizeandsubvertlistening one wayinwhichDeaf West’s choreographic sound tokeepthestoryontrack. This isjust aural andoralinsulationcaneasilyrelyon atre, whereaudiencesaregenerallytreatedto of receptioninconventionalmusicalthe- half hoursthatcracksopenhegemonicmodes ing andseeingoverthecourseoftwoa is doneandsaid. Itisthispracticeofsearch- viewers tosearchforconnectionsbetweenwhat non-signing audiences, gesturalsignifiersforce tioning throughtheirpreciseimprecision. For communication, repression, anddeepques- mate deeply embodiedexperience. ASL gesturesani- lack ofdirectword-for-word translationofthis understood youthlinksheretotheenduring “stuckness” meaningful parallelsaroundmaterialactionand and forefinger, thisgesturalambiguitycreates crash togetheratthesofttissuebetweenthumb multi-signifying problem. When thehands of youthfulconfusionandtransgressionasa plus meaningsthatbolsterthepiece’sthemes text andenacted ASL gesturescarriessur Spring Awakening’s — as avisualanchorbetweenhearing and h bth f living” of “bitch —the — in thiscaseashoulder main themesoffoiled

s mis- a —as - - Critical Acts 151 A closer look at the letter-passing gesture at the letter-passing A closer look Hand-eye coordination also times the Throughout many of the songs signed and presses this point. The song begins as Stiefel The song point. presses this holding a let- foot of his twin bed stands at the mother speak/ to Melchior’s “listening” ter and for funds rejecting his request sign her message to the US. and emigrate to leave Germany (a low-level position, Boniello stands downstage and is turned upstage to in contrast to Durant) When a male cast face his signing counterpart. Durant’s right places his member standing to spreads open his fingers, hand on the bed and the paper and throw Durant knows to crumple Throughout the num- it aside to begin signing. handoffs signal Durant’s cue to start letter ber, Still other verses com- signing the next verse. that he is reading gets mence when the letter snatched away. “I Don’t Do staged action in the later number As Boniello sings in place downstage Sadness.” Durant signs while traversing a makeshift right, - catwalk that is created by the ensemble mem bers who lock three rolling schoolhouse tables together to create a veritable runway from As Durant walks upstage to downstage center. he relies on the same kinds down the catwalk, of finger spreading gestures from ensemble the members who are crouched down to hold Surrounded tables in place to signal his signing. fin- by crouching actors who subtly pull their and Boniello, Durant, gers together and apart, for the ensemble collectively master the cue each new verse. activ - , sung by the cast of Spring Awakening subtle ities like folding or unfolding arms, and audi- focus changes, shifts of body weight, of ble breathing establish the group’s sense aural Without or shared pulse. entrainment, Liff relies instead or oral cues to track action, on choreographic choices that are visually nod, A head unremarkable in their simplicity. or an extended finger a squeeze of the arm, becomes a vital trigger deliberately designed to get lost in the visual spectacle of the pro- The tiny acts that coordinate the Deaf duction. They ensemble are far from random. West Liff’s offers member is actor driven, is actor driven, the hearing actors assume choreo- and she’s going to shrug her and she’s 2 And Then There Were None,” “And Then There Were So the three of you are going to watch of you are going to So the three Ali, Ali here refers to Ali Stroker, a cast member who is the first instance in US history of an actor who uses a wheelchair Ali here refers to Ali Stroker, performing a Broadway musical. For details see Dziemianowicz (2015). Moritz Stiefel’s suicidal contemplation shoulders on the 7, and then on the 8 and then on the 7, shoulders stand on and then you beat, you wait a there are going And you three over the 1. her fin- and she points to watch Kathryn, and that’s on the 8, ger out from her fist 2015) (Davenport your cue. virtually impercepti- By weaving a series of 2.

tacit gestures secure an ensemble infrastruc- tacit gestures secure where half the members ture in this unique cast The bulk of the implicit cannot hear the music. cueing in Spring Awakening obligations and respon- which heightens the sibilities of each person in the 27-­ a musical In the above example, ensemble. downbeat takes the shape of a pointed finger, which signals a large-scale ensemble movement In many of the musical numbers in Spring shift. Awakening, graphic responsibility for enacting gesture- the based visual and tactile cueing that keeps ensemble entrained. song, ble movements into the choreographic struc- ble movements into Purple Summer,” “The Song of ture of an example where interdependent gestures an example where interdependent gestures vocal between nonhearing actor Durant and his counterpart Boniello pilot gestural entrances - Whereas certain signals are straight and exits. such as Boniello’s opening head nod forward, cues other ASL stanza, to cue Durant’s opening in make strategic use of props already in play the scene to cue Stiefel’s subsequent entrances Using a handwritten letter passed and exits. Liff repeatedly to Stiefel throughout the song, underscores Stiefel’s frustration around his failure to secure funds to emigrate to the US. and crumpling, the simple act of passing, Here, throwing a letter signifies in multiple direc- tions depending on whether one is seeing these gestures from inside the ensemble or out This strategic doubling of ges- in the house. tures supplants audiocentric cueing as a domi- nant practice upon which conventional musical theatre depends. 152 Critical Acts no longerdependonthesoundofmusic. staging commercialmusicalblockbustersneed that awakensustothepoliticalpossibility and touch ­constructed throughdeliberategesture, focus, cueing West’s be structuredaroundthecapacitytohear. Deaf action inconventionalmusicaltheatrehasto audiocentric assumptionthatchoreographic ied actionandsightsubverttheableist infrastructure reveals, forme, ishowembod- formances, whatDeaf West’s hiddengestural stated gestureunderpinsmanytheatricalper in therealmoftechnicalproduction. Here, rial demandsoncommercialmusical theatre Deaf West’s translationpracticesplacemate - close bymovingfurtheroffstage toshowhow performer, andproducerobligations, Iwantto ture asaconstitutiveforceshaping audience, Given myoverarchingconcernherewithges- Integrative Theatre ontheBroadway Stage The Translational Costs ofStaging Infrastructural Gestures among thecast, orchestra, andcrew. to providecorporealsecurityandsynchronicity have beenhabituatedovermonthsofrehearsal Boneau/Bryan-Brown) (Instagram photobycastmember;courtesy changes duringSpringAwakening’s techweek. Liff andASLrehearsaltranslatorKilwittmake translation onuniontime,choreographerSpencer Figure 5.Carefultolimitcostlymomentsin While onecouldcertainlyarguethatunder — presents analternativeapproach ­structure —choreographically - - hearing cast: instrument ofcontrolwithahearingandnon- stage action throughs toswiftlyhaltallonstageandback- phone thatdirectorsuseduringtechnicalrun tional useofthe “god mic” hold upinpractice. the onedescribedbyLiffbelow, simplydonot certain conventionalproductionshortcuts, like cess isnecessaryforensembleconsensus. Thus, interpreters atallstagesoftheproductionpro- double-casting andnecessaryinclusionofmany temporally expensiveproblem. Deaf West’s ing andnonhearingcastasamaterially ography, staging, music, orlightingwithahear translation-heavy exerciseofchangingchore- union musicals. Histestimonyunderscoresthe of productionchangestypicallydemandedby hearing ensemblestrainstheswiftexpedition of managingtheintegratedhearingandnon- Brooks Atkinson Theatre toshowhowtheact Spring Awakening’s the time-consumingexperienceoffacilitating mainstream commercialtheatre. ally time-stamped, cost-consciouscontextof expose normsofproductionwithinthegener Deaf West’s gesturaldemandspressureand A briefanecdotefromLiffhelpsexposehow lags duringthecompany’stechnicalrehearsals. late Deaf West’s workmakeforsignificanttime the armyof ASL intermediarieshiredtotrans- 2008:xxiv). Specifically, Iaminterestedinhow on thepresenceofhumanbody(Noland communication thatdependsfundamentally again, gesturefunctionsasaninstrumentof ing tomovepeoplearound, because you you justrunuponstageandyou’re try- who’s gotalittlelightonher, andthen and theyhavetolookattheinterpreter, body’s gottoresetandwe’ve tostop we’ve said “HOLD,” andbythen, every- takes themall30secondstorealizethat is allinthemiddleofdoingstuff. It and hehastoflashalight, but[thecast] [Deaf West’s stagemanager]hearsthat, [Arden] hastosay, “Hold,” and then TJ mic” inthewaythatyouwouldnormally. because youcan’treallyusethe “god Tech isnotfunwiththisprocess, mainly In thisparticularscenario, theconven- In hisinterviewwithDavenport, Liffdetails — completely losesitsutilityasan technical rehearsalsatthe

— the micro- - - Critical Acts 153

London:

2 October. Accessed 2 October. The Study of Signed Languages: of Signed Languages: The Study : Aldine Publishing The Ritual Process: Structure The Ritual Process: Structure New York Times, Times, New York www.nytimes.com/2015/10/04 28 October 2015. /theater/lights-gestures-action-how-to-stage-a -broadway-musical-with-deaf-actors.html. and Anti-Structure. Company. 2002. “Preface.” In “Preface.” 2002. edited by , Stokoe C. William in Honor of Essays and Karchmer, A. Michael Armstrong, David F. DC: Washington, xi–xix. Cleve, Van John Vickrey Gallaudet University Press. TRANSCRIPT– 39 “PODCAST EPISODE 17 October 2015. Accessed SPENCER LIFF.” www.theproducersperspective.com/my_weblog . /2015/09/podcast-episode-39 www.deafwest.org. Ali Stroker makes history as first actor in actress Daily News, York New a wheelchair on Broadway.” www Accessed 13 January 2016. 15 September. .nydailynews.com/entertainment/theater-arts /ali-stroker-broadway-history-spring-awakening -article-1.2361740. of Economy a Political Toward Performance: 2nd ed. Educational Symbols and Gestures. Routledge. edited by Carrie Noland and Sally , of Gesture Minneapolis: University of ix–xxviii. Ann Ness, Minnesota Press. Deaf With How to Stage a Broadway Musical Actors.” of offstage interpreters charged with technical interpreters charged of offstage gestural West’s Deaf translation, teaching and hierarchies of productively subvert economies and staging that have cueing, seeing, showing, publics. estranged nonhearing heretofore Turner, Victor. 1969. 1969. Victor. Turner, Summer 2016. Review 60:2 (T230) TDR: The Drama Institute and the Massachusetts University York ©2016 New of Technology References Karchmer. A. and Michael David F., Armstrong, . The Producer’s Perspective 2015. Ken. Davenport, Accessed 27 October 2015. 2015. Theatre. West Deaf “‘Spring Joe. 2015. Dziemianowicz, Awakening’ as a Ritual Schooling (1986) 1993. Peter. McLaren, In Migrations “Introduction.” 2008. Carrie. Noland, Action! Gestures, “Lights, 2015. Michael. Paulson, - - - - ­ which inter — - who are pres producers, 2015)

many can’t really just sit in the house and say, and say, just sit in the house can’t really what number are you Treshelle, “Hey And then not so easy as that. It’s on?” lighting onstage and [the you’re running also busy technicians] are designers and the light so so you have to find lighting, members of that they [the nonhearing lips or they [the the cast] can read your see you well enough ASL translators] can interpreter’s run- and the to interpret, I just want to go and ning behind you, and she’s run- fast and fix everything (in to sign along. trying ning alongside, Davenport estingly became part of the show’s publicity estingly became part of the show’s publicity campaign — brings Deaf West’s production circumstances into sharper view as counter of hegemonic practices that disrupt pedagogies pro- This company’s US commercial theatre. mate- duction curriculum enacts temporal, and practical demands that push back rial, of against economically motivated shortcuts ges- These layered many musical productions. despite tural economies together expose how, formidable success staging alter West’s Deaf native production pedagogies in the commer structuring, hierarchies of seeing, cial realm, and staging musicals continue to threaten to leave out deaf actors and audiences within and Through Arden’s onstage beyond Broadway. ASL gestures and choreo- integration of of through the compendium graphic action, small movements that comprise the piece’s and through the armies inner cueing system, sured to produce $4.5 million by the end of sured to produce $4.5 million by the end mov- the 18-week run to capitalize the cost of ing this integrated production from Beverly I highlight Liff’s recogni- Hills to Broadway. tion of these heightened temporal and human demands because he gently fashions a critique: aver that oppressive timelines and producers’ future sions to excess spending doubly threaten - interventions that require translational prac Liff’stices. podcast testimony Excess time spent in translation is not with- Excess time spent in and Spring Davenport, out its costs to Liff, ’s Awakening