Performing arts 273

PERFORMING ARTS Broadway play was so successful that several other professional companies were formed to take it to The pride of the deafCOIn ~ theaters outside New York City In of and language, or actress played the leading significant. When .' The national touring persons their deaf counterparts ci j ies throughout the on stage, the movies, it serves i('atured Linda Bove; the remove the "stereotype" of deafness, had Freda Norman They discover and develop greater (England) company confidence attitude toward groups have since played and and society, It also encourages them to seek other South Africa, and repeat performances continued role models in the performing arts, to captivate audiences in regional theaters through­ out the United States. Altogether, scores of deaf PERFORMING ARTISTS persons have been employed in leading or sup­ In many ways, deaf persons as individuals have porting roles or as understudies and substitutes. blazed new pathways in the performing arts for The film rights to the play were purchased by others to follow. One of these individuals is Ber­ a Hollywood production company in 1984. See nard Bragg. He studied mime with Marcel Marceau FRELICH, PHYLLIS. in Paris United States with people who had acquired one-man the best night clubs had already made an theaters. television appearances frdich and Bove. Among clude his The Quiet Man in Fabray and Johnnie Ray, appearances on unusual distinction ofbeing guest spots on television RA,y,JOHNNIE. States. Bragg also helped Theatre ofthe Deaf (NTD) TELEVISION and was one ofits brightest stars for over 10 years. One of the first profoundly deaf persons to appear The publication of his biography, Si,1!)IS of Silence on prime-time television was Audree (Bennett) (1974), by Helen Powers, is an inspiration for all Norton, who had toured nationally with the NTD. deafyouth. See BRAGG, BERNARD. Norton had a featured role in Mannix (1968), a Another performer who often appeared on tele­ detective series starring Mike Connors. It was a vision was Linda Bove. A member of NTD since drama in which Norton not only was the heroine 1968, she played a leading role in productions of but also exposed audiences to deaf awareness and the Little Thefltre of the Deaf. Moreover, she was deaf culture (it was probably the first time in a the first scen in the daytime tclc­ show that a flashing used TOlllOTTOW (1973); she attention to a ringing also member of the popular chil­ a deafcharacter on the Streets She had the lead Francisco (1971). during the years when November 15, 1971 ,Jane and the national company performed in vVechsberg, both former NTD, United Statc;; and she also had a first television program prot(Jundly in a full-length Sesame Street movie, Follow That deaf newscasters. This was NewSiSn Four, a daily Bird (1984). By communicating with "hands that news program integrated with the Today Show in talk," Linda Bove has helped develop deaf aware­ the early morning for deafpersons in the San Fran­ ness and shown how deaf individuals can contrib­ cisco Bay area. Wilk and Wechsberg used sign lan­ ute to the world ofentertainment. See BOVE, LINDA. guage and fingerspelling to communicate the news For deaf people, the biggest breakthrough in the of the world, as well as "what was happening and theater world occurred in June 1980, when deaf where" in the local deafcommunity. NewSign Four Phyllis Frelich, a former member of NTD, won the proved so successful that it was honored with an Antoinette Award for best actrcss Award. in the plav Lesser God. The original ;;econd Emmy Award went in production two other deaf persons his documentary television supporting Merkin andJulianna Gold. i\·J,v Ears, which featured Frelich's only proved that a people who contributed to educa­ ented deaf person could succeed on Broadway if tional, and economic growth ofCalifornia. In 1975 given the opportunity, but also opened the door to Wechsberg established Sign-Scope, a motion picture other deaf performing artists. The long-running production company in Portland, Oregon. This led 274 Performing arts

to the production of a full-length movie in Tech­ people and their culture. Featuring his one-man nicolor, Deafula-a deaf-culture parody ofthe clas­ Gee Jay Show (named for his initials), Johnston's sic horror film Dracula. It proved that oe3f per­ repertory ofdeafjokes :mo skits, his improvisations be inventive and pantomime and slap~tick and his catchy wrote the script but and dance numbers success. and played the leading Mary Beth Miller had berself as a with another comedy, popular comedian and with the a Iso featured deaf NrD Company before and then and deaf culture. helping to found the the focus ofanother latter, she wrote and perfrl!'mances of venture into television programming for deaf and Travelling Road Show and A Play of 1,000 Words, hearing viewers in 1975 when D.E.A.F. Media, Inc., also performing in both as the major character. produced Silent Perspectives, which acquainted the Her talents for mimicry and dramatic monologue, public with deaf people and their culture; it won comedy sketches, and slapstick earned her nation­ an Emmy Award. wide acclaim whenever she went on tours of the This led to the creation of an original and ima­ United States and Canada. ginative program for deaf children, Rainbow's End (1980), featuring a magical television studio where CHILD STARS most of them deaL was inevitable that increasing star attraction of number ofstage , screen, productions should feature deaf child performers. first of these to role on the lIJ'(ladway stage was the v"ho portrayed "Hubbell) the musical Runawal's alliO approaches to teaching and eloquent sign ' stage with visually to deaf children. It was the first program Hlibok was his interpreter, who provided voice-over of its kind, winning an Emmy Award in 1980 and as well as signs for those scenes when he was off the hope of deaf people everywhere that it would stage. It marked the first time in New York theater have continued production as a deaf version ofSe­ historv that deaf audiences could follow and fully same Street. undeistand an interpreted musical, thereby serving Los Angeles took pride in displaying its own tele­ as a model or prototype for the New York Theatre vision celebrity in the person ofHerb Larsen, called Access Project ofsign-interpreted performances for "the deafJohnny Carson." As host ofQ/J-Hand, ce­ deaf people, which began in 1980. Runaways cap­ Larsen captivated deaf tured five Tony Award rnaster of ceremonies In 1979 10-year-old the half-hour show deaf parents, had the on the Silent Network And Your Name Is JOlloh. and interpreter was ilcted the all-too-common deaf parents, who helped diagnosed as mentally Theatre of the Deafand ered to be deaf. Bravin's a long libt of television and film credits as an actor. the movie and television celebrity; the By the end of 1984, OjJ:Hand had a string of 200 tured other deaf persons, including its consultant, performances, produced by Silent Network. Created Bernard Bragg, all of whom provided realistic sit­ by Sheldon Altfeld, the Los Angeles-based company uations and environments to convey "the deaf ex­ is dedicated to producing nationwide television perience" in what was probably the best-made and programming that showcases deaf talent and deaf most honest movie on the subject up to that time. culture. Other teenagers appearing in television dramas were Kevin Van Wieringen as "Scott Phillips" in an COMEDIANS episode of the series James At 1r; (19711). Another deaf culture to use 13-year-old Johnny appeared in were George Johnston episodes ofthe serieo; 'free (1983). Bf'l a gifted impressionisl Km'acs, who is the son also played allY well-known personage, Wild Boy," who ii' and needs hearing, and could sing and dance with perfect to communicate in sign language in an episode of timing to suit the comedy situation. Also, he could the television adventure drama series Little House depict "the deaf Archie Bunker" using the man­ On the Prairie (1982). nerbms. and folklore peculiar In 1982 lS-year-old appeared Pcdorming 275 in movie theaters throughout the United States in Frances Woods, named Esther Thomas at birth. A Originally l1In),-on-the-Lips, movie premature baby. weighed only pounds and adaptation "hort story, It Was born without drums; the doctors did no! Won the-Eyes," IVlargaret Montague, teacher her to live. However, she grew up of deaf children. The film also featured Nanette to very athletic, and developed a fine sense of Fabray. rhythm for dancing. It was on the dance floor that If anyone ever loomed larger than life on both she met her future husband, Anthony Caliguire, the movie and television screen, it was "the In- who began teaching her to dance by playing the Hulk" of rerrigno. Born raised in getting feel the of the music, developed infection then havillg perform steps to three that a severe loss and the particular rhythm. See Woons,FRANcES. learning to ::;peal'.. quite difficult. Ferrigno was One ofthe first deafdance groups was the Amer­ called "dumb Louie" by his peers and grew up shy ican Deaf Dance Company (ADDC). With Yacov and withdrawn, and a skinny weakling. However, Sharir, a normal-hearing dancer, as their artistic he took up body-building and developed into a tall, director, the ADDC developed a unique set ofdance man. His movie appcarrmee was in numbers without use of which im­ c]ilssic film on body-building, Iron, in audiences their visual intuitively he co-starred with Arnold Schwarzenegger. conceived rhythms. j\ talented of dea'f Like Sehwarzenegger, Ferrigno was a champion professionals, the ADDC made successful body-builder, having won both the "Mr. America" tours of the United States, and also conducted and "Mr. Universe" titles. He then went on to win workshops and training programs in cooperation international fame as "the Incredible Hulk" in the with the Summer School of the NTD. television drama. had the Another m~jor dance theater is Musign in the epic film acronym of and . featuring il (1983), appearances !,!lellted quartet Jeafprofessional performers-·" various serials. Corey, Bob IIiltcrmann, Ed ChClY, and Mar­ Equally exciting and daring was the career of jorie Tanzar. Musign went on national tours in the Kitty O'Neil, deaf from infancy, who has been called fall of 1982, after debuting at the World's Fair in "Hollywood's most amazing stunt woman." For Knoxville, Tennessee. They have performed in New H'ars, O'Neil "stand-in" Hollywood City's Lincoln Center, gone tours of television actrc,;,;cs whenever the proved Far East, make numerous on tele- Her roles included substi!ui fiJr Linda I, and WOIl Theatre Award, in Wonder and for Wagner i 'rancisco, in Based in Berkeley, California, in The Bionic Woman. O'Neil, who was a platform Musign has created an original form ofvisual mu­ diving champion as well as the holder of many sic using sign language, mime, and dance to inter­ speed racing records for women (she set the world pret an ever-changing variety ofpopular songs. The speed record woman in . also was is a fast-,;iepping musical punctuated in the tcievision movie Silent The unusual lighting effects and costumes, which CJ'Neil Stor), ( Although captivating appealing to J and deaf Stockard Channing played the alHliences. performed all the stunts herself. THEATERS OF DEAF PEOPLE The National Theatre ofthe Deaf(NTD) has helped DANCE awaken the pull] deaf awareness. Since its es excelled dance. Two tablishment in , , NTD has iniluenced millions luention-Helen Heckman hearing people !hroughout in the Frances the mid-1 Heck- and on television. In their the sign man impressed audiences in small night clubs of language ofdeafpeople is transformed into a form various European cities with her interpretive dances. of visual expression that paints pictures in the air. Despite total deafness from infancy, she spoke with Similarly, NTD has presented deafness in positive speech -accent, modulation, in- to people lm£1miliar with have dra­ rhythm. her dedita! to hard matized the deaf with realism. and practice. her intuit in: of tim­ same is true Little Theatre the DeaL ing and artistry of body movement :she trans- which dramatize.; fables, folklore, and poetry. Sec into dance. this she recoullts her au- NATIONAL THEATLRS THE DEAr: United States. M)' "fro nsformed ( Although mOS1 people in the greatest individual achievement by metropolilan areas, their excludes a deaf person in the field of dance was made by them from many of the cultural arts programs en­ 276 Performing arts

joyed by hearing people in their localities. This in­ derive the same kind of "theater experience" as cludes many residential schools for deaf students hearing patrons do is the dedicated work of or­ as well as public schools and colleges in which deaf ganizations providing special sign-interpreted per­ students are mainstreamed or integrated with formances. hearing students. To meet this cultural lag, an un­ One of the first to offer this service was Project usual touring company was initiated in 1980 at the DA.T.E. (Deaf Audience Theatre Encounter) which National Technical Institute for the Deaf (NTID), began in December 1978 at the Mark Taper Forum, called Sunshine Too. Los Angeles, with 35 deaf persons attending a per­ A complement to the established NTID Educa­ formance ofA Christmas Carol. Although the per­ tional Theatre program which involves both deaf formance was not interpreted in sign, a post-play and hearing students on campus, Sunshine Too en­ discussion was, and as a result ofthe dialogue and joys the status ofa professional traveling show that feedback with the deaf community, D.A.T.E. de­ gives performances and workshops in public schools veloped a viable program. Thereafter, two per­ for deaf children, and colleges, as well as offering formances of each of the five events in the annual evening programs for deaf and hearing adults and season of plays were sign-interpreted. Also in­ their families. Sunshine Too productions include cluded were advance summary workshops and post­ one-act plays, mime, personal stories and mono­ play discussions. Project D.A.T.E. could also be logues, poetry, song, and even an introduction to considered as the springboard for the production sign language and deafness. Every production is ofChildren ofa Lesser God which premiered at the done in sign language and voice by deaf and hear­ Mark Taper Forum on October 29, 1979. Coordi­ ing performers who have traveled around the United nator for the project was Joe Castronovo, a deaf States and Canada over the years, and per­ actor and performing arts administrator who was formances have been enthusiastically received by also a former member of the NTD. audiences of all ages. See NATIONAL TECHNICAL As the result of a survey made in 1979 by the INSTITUTE FOR THE DEAF; THEATER, COLLEGE. Theatre Development Fund (TDF) ofNew York City, Community theaters of the deaf are doing activ­ a program known as the Theatre Access Project ities similar to those of Sunshine Too in metropol­ (TAP), supported by TDF general operating funds, itan centers. Among the more active groups in years was set up to serve deaf people who strongly ex­ past were the New York Theatre Guild ofthe 1930s; pressed the need for interpreted performances. For the New York Hebrew Association of the Deafs the December 2, 1980, signed performance of El­ Drama Guild of the 1940s; the Chicago Silent Dra­ ephant Man, 82 deaf persons bought tickets and matic Club of the 1940s; the Bay Area Players of attended. Since then, over 22 popular shows have San Francisco-Oakland in the 1950s, and Spectrum been interpreted at various Broadway and off­ Deaf Theatre of Austin Texas in the 1970s. Broadway theaters, among them: A Chorus Line, Beginning wIth the 1960s there was an increas­ Annie, Amadeus, Pirates ofPenza nee, On Your Toes, ing number of deaf community theaters, some of and DreamgirLs-an average of six such per­ which became so successful in point of longevity formances per year. as to become models for other newcomers. Prob­ With the encouragement and assistance of Ann ably the best organized and most famous of these Silver, a deaf person who has long been active in was the Hughes Memorial Theatre based in Wash­ promoting theater and cultural programs for deaf ington, D.C., which evolved from the Dramatics people in New York City, even the New York City Guild of the District of Columbia Club of the Deaf, Opera featured an interpreted performance of The starting in 1959. The Hughes Memorial Theatre of­ Merry Widow in the fall of 1983; this operatta was fers stage productions of vintage and popular plays, sung in English and signed in American Sign Lan­ from serious drama to comedies and musicals. An­ guage. Later, they presented a sign-interpreted pro­ other community theater, begun in 1979, was the duction of the tragic opera Susannah, which drew New York Deaf Theatre, Ltd. Equally active was a large audience of deaf people. Deaf theatergoers the Fairmount Theatre of the Deaf of Cleveland, now have the option of play selection and the op­ Ohio, which began as a community theater in 1980 portunity to become regular theater patrons. but later matured to become the only other profes­ sional deaf theater in the country other than NTD; it was widely acclaimed by deaf and hearing au­ Bibliography diences wherever they performed. See FAIRMOUNT Brown, Ruth S.: ''TAP Sign Interpreted Performances Start Fifth Year," Silent News, january, 1985. THEATRE OF THE DEAF. "Deaf Theatre Goers in Los Angeles Enjoy Varied Pro­ gram" (news item), NAD Broadcaster, November/De­ SIGNED PERFORMANCES cember 1979. Yet another attempt to eliminate cultural barriers Heckman, Helen: My Life Traniformed, Macmillan, New and create equal opportunities for deaf people to York, 1928. Performing 277

"Introducing Herb Larsen," Silent Network (publicity tigious events, it became necessary to terminate the hrochure), Hills, CalifiJrnia, 1984---8[i, vo]untillY aspee! the group, To be member, '~Johnny New 'IV Star, !i/orId Around students had to all extracurricular activities vol. 4 December 1ll, 1982. that might interfere with rehearsals, travel, and Panara, Robert: "Cultural Arts Among Deaf People," appearances. The media kept referring to the group Gallaudet Today, Washington, D.C., Spring 1983. as the Gallaudet Dancers. Members ofthe company ---, John Panara: Great Deaf A merican3 , TJ, Publishers, Silver Spring, Maryland,W83. felt it was appropriate !lame adopted "Rainbows L:nd" (publicity brochure), u'E.A.F. it. Inc., Oakland, California, 1981. Performances Over the years the dancers have ap­ Swain, Robert: "Deaf Teenage: A Runaway Success," peared with countless national celebrities--indi­ Deaf Amerit'oll., January viduals as diverse as entertainers Nanettc Fabray Robert Panara and Charles, athletes Aaron Nancy Lopez, and politicians Lyndon Johnson and An­ GALLAUDET DANCERS' drew Young. They have appeared on television pro­ The Gallaudet Dancers is a performing dance com­ grams such as the Mike Dou,'{las Show, 60 Minutes, pany composed of h,'ring-impaired students P.AI, Magazine, PanDrama, Evenin,I!,' Magazine, Gallaudet College. The company has gh'en live and performed the National Democratic Con­ formances throughout the United States and abroad, vention in 1968 and at the Presidential inaugural and has appeared on television in the United States. ceremonies in 1980 at the Kennedy Center. The Data from the nationaltclevision networks indicate Gallaudet Dancers have traveled abroad, giving over million tcledsion vlnvers have perfhrrnances in France, England, Denmark, nessed the Gallaudet Dancers in performance. They Peru, Canada, and Costa Rica. continue to be important emissaries for Gallaudet The experience gained in the Gallaudet Dance College and the deaf community. See GALLAUDET troupe has benefited its alumni. Several former COLLEGE. for have appeared tele­ Years The GaHaudet Dancers were vision programs Frane, Sesame Street, Happy lished in 1955 by Peter Wisher, a Gallaudet College Days, and in the award-winning play Children of basketball coach and physical education teacher. a Lesser God. The group's success also has prompted Wisher had studied dance under the leading dan, others to support neaf dancers. Subsequf'ntly, sev­ of that era, such Martha Graham, eral performers organizaiions have sIJonsored Humphrey, Hanya Halen, and Jose Limon. When deafdance groups, such as Jacques D'Amboise, Ed­ he arrived at Gallaudet College, there were no dance ward Vilella, and the Joffrey Ballet. classes or dance organizations on campus. The pre­ Instruction One of the most essential consider­ "ailing philosophy seemed to be since deaf ations dance deaf is the melhod of people could not hear could dance. accompaniment, both in new rhythmic witnessing a group signing the Lord's Prayer at a patterns and in performing. One instrument seems religious service, Wisher concluded that since deaf to satisty all levels of hearing loss-the drum. pt'ople arc used to communicating with move, Everyone can either feel or hear its beat, and once ment, dance could prove be a activity are mastered music replace drum. them. Moreover, the enthusiastic reijponse of Many the group's most ijuccessful how­ students upon being introduced to dance inspired ever, have been performed without musical accom­ further exploration of dance and its effects upon paniment; feelings and moods set the quality and hearing-impaired young people. dural of appropriate movements. When the performing dance group was estab, Adnmtage is taken of those dancers some lished in the fall of 1955, membership was on a residual hearing. Because they can follow the rhythm voluntary basis and was limited to hearing-im­ ofvarious kinds ofaccompaniment, they are some­ paired studt'nts, Since tht' dancers at that time were time!' given leadt'rship roles, The profoundlv deaf nmices, techniques and choreographv were kepi in turn, respond \'isual cues, and hand elementarv level. However, a new art form signals are used help them establish required introduced: dances based on signs. Inasmuch as rhythm. Once the basic rhythm is perceived by the hearing dancers abstract human gestures in com­ dancers, they do not seem to have a problem main­ posing dances, it follows that deaf persons throughout the number being per/'xmed. abstract in their choreographic efforts. Contrary to popu lar opinion, deafdancers do not form ofexpression made an impact on hearing au­ follow rhythm by feeling vibrations in the floor. diences. Invitations to perform in fhJm Standing still and with a proper floor, dancers can schools, churches, national organizations, tele­ sense vibrations; however, when they move through vision networks, and foreign countries. space this contact is lost. The Gallaudet Dancers, Due to the many invitations to appear at pres- therefore, are not limited to particular dancing sur­