Why should I hire a Deaf or hard of hearing actor?

Why should I hire a Deaf or hard of hearing actor?

There are many obvious reasons: to expand the artistic possibilities of a given project and thereby, to enrich the production as well as the audience’s experience; to have the benefit of the individual actor’s talent one would otherwise miss; and, regarding Deaf or hard of hearing-specific roles, to have the benefit of experiencing Deafness and Deaf culture accurately portrayed. As with anything creative and authentic, these experiences serve to deepen our understanding of ourselves in relation to others and expand the sense of our possibility.

John Frank Levey, the casting director for The West Wing and E.R., says, “When a role is Deaf-specific, as a casting director I believe I have a responsibility to the producers, to the audience and to the Deaf community to create authenticity. Calling in Deaf and hard of hearing actors also creates opportunity in the Deaf community. It doesn’t guarantee employment, but it creates access which is very important to me.

I have found that casting Deaf actors has affected the creative and production process in profound ways: all the hearing actors involved and the set and crew went through an experience of communicating in ways they had not previously experienced. It created an awareness of others who are both like us and not like us. This heightened experience increased our passion for the project which translated into making the show better. Ultimately, by growing as people, we become better artists.”

Artistic Director Michael Kahn of The Shakespeare Theatre in Washington, D.C., has cast Deaf actors in two productions. “For me, the reason to cast a Deaf actor is to illuminate a relationship or a play. Whether Deaf or hearing, when I have a good artistic experience working with an actor, I tend to think of that actor again for future projects. In the productions in which I have cast actors who are Deaf, they were wonderful experiences and through their performances, they illuminated the play.”

Artistic Director Irene Lewis of Center Stage Theatre in Baltimore has worked on four productions with Deaf and hard of hearing actors. “A few years ago, a staff member who was running a series presenting new work here, included a piece by a fellow classmate at Towson University called Falling on Hearing Eyes by Willy Conley. That was where I met Willy. He was also an actor in the piece and I was very taken by both his talent and his insight.” Despite her initial concern that a hearing actor would not be able to hold the stage with a Deaf actor, Irene cast Willy in a scene from As You Like It. Instead of working around Willy’s deafness, Lewis “attacked the stereotypes the hearing audience has with Deaf performers.” As the character of Touchstone, the hearing actor made every possible mistake “trying to make himself understood to Willy’s character in a variety of ways: screaming, acting out, over pronouncing words, etc. It was hilarious, eye-opening and theatrical.

Ultimately my interest in hiring Deaf actors is due to the enormous talent out there and the extraordinary theatricality that many Deaf actors possess. It seems to me that it’s in our and our audience’s best interest to use this talent.”

Ten years ago, John Dillon, then the Artistic Director of the Milwaukee Repertory Theater, conceived of a production of Our Town to be performed by a cast of Deaf and hearing actors. “The idea was that Grover’s Corners would be a community where Deaf and hearing lived side by side and knew each other’s language. The Webb family was Deaf, the Gibbs hearing and the townspeople, both Deaf and hearing. Two actors, one Deaf, one hearing, played the Stage Manager, performing the role simultaneously, sharing and dividing up the character’s tasks.”

Both Dillon and Lewis remember their experiences with Deaf actors as having opened up artistic possibilities. “The challenges aren’t barriers,” Dillon says, “but opportunities that can open doors to the most satisfying of collaborations.”

From director Deborah LaVine, “I recently had the privilege of directing A Streetcar Named Desire at Deaf West Theatre in North Hollywood, performed in American Sign Language (ASL) with voice interpretation. My experience was gratifying and profound due to the large company of superb actors, both hearing and Deaf. I had been asked if I would be able to recognize strong acting when the Deaf actors would be auditioning in a language I didn’t understand. Strong acting is evident in any language. When an actor is connected to her/his material, when they are truthful and ‘in their bodies’ and not indicating or commenting on their characters, the work speaks elegantly. This is fact in any form or style of theatrical language.”