Show of Hands

Another Broadway Musical Joins in Captioning Videos

2012-01-31T18:33:00.000-05:00

Good news!

Another Broadway musical has joined in captioning videos on their YouTube channel, following in the footsteps set by Rent and Disney on Broadway's Mary Poppins and The Lion King. So, which one is it?

Godspell.

That's right - Godspell, a modern-day retelling of the Gospel according to St. Matthew - has started captioning their videos taken from the new Broadway production and welcomes Deaf and Hard of Hearing fans to watch these videos!

Here's the first one captioned: Hunter Parrish ("Weeds", Spring Awakening) sings "Beautiful City" in the recording studio.

Link: http://youtu.be/EXezjFLTl-c
(Don't forget to toggle the 'CC' button on the bottom right).
Be sure to visit the video and leave them a message of thanks to show your appreciation - and come back later for more captioned videos!

In the Spotlight: Hennepin Theatre Trust

2012-01-04T17:42:00.002-05:00

With the upcoming touring production of Disney's The Lion King making a return to the city where it started all those years ago - and to the very same theatre even, I have decided to honor the theatre orgranization who also made it possible for me to see my first interpreted Broadway touring show.

Flashback to the year 2007. My family and I had just moved from Idaho to the Twin Cities area (that's Minneapolis-St.Paul for those not familiar with geography). It was a year of big changes for me - transferring to my third school, a new job for my father, the I-35 bridge collapse - and what spurred a renaissance of theatregoing for me. One of the reasons I agreed to move to the Twin Cities was the lure of sign language interpreted performances. I had grown up with limited access to the theatre (see earlier postings for additional information).

So I had no expectations whatsover when my family and I reserved tickets to see The Lion King at the Orpheum Theatre in Minneapolis in November of 2007. From the moment the curtain opened to the standing ovation at the end, I was hooked. I couldn't have been more fortunate as the two sign language interpreters did a stellar job of translating the music and lyrics of the show. I loved how they translated "Hakuna Matata!" Loved the opening scene with "Circle of Life". Loved every moment of it.

I have not had an less-than-stellar experience with this particular theatre organization. The box office folks, the ushers, and the house manager have gone out of their way to make not only myself, but the Deaf community feel welcome. Even with the occasional odd request from a certain theatre afficionado, they still maintain the magic of live theatre.

What requests? Well, there was the time where I saw Rent four times in a single weekend - and they made it possible for me to acquire student rush tickets and still have optimal sightlines for lipreading on the non-interpreted days. Or when I needed to bring in a script and flashlight for The Phantom of the Opera the second time I saw it - days after I saw the interpreted performance. (Folks out there may remember the ill-fated performance of Aida at another venue where the script was nearly consficated in a misunderstanding between the Box Office folks and the ushers). Or the time I needed to exchange tickets for a performance of Mary Poppins to a later date so my mother could see it once she flew back home (not to mention that I had already seen it thrice thus far). Or when I needed a copy of the script (or two) so I could mentally prepare for the show - and to work with the interpreters as a coach. Or that they listened to the requests made by Deaf patrons to bring captioned performances to add to their repertoire.

I have had theatre highs and theatre lows, but no organization has had far more highs than low (I can only think of one - with the scheduling mishap of High School Musical where half of the Deaf patrons showed up at an earlier show to find no interpreter present - but that worked out in our favor with compenstation given. That pales to the number of highlights.) Not only that, they consistenly bring out top-ranking sign language interpreters who clearly know their craft. I've loved the shows I have seen at the Orpheum and the State theatres (yes, even Cats - while I hated the show as a whole, the performance was worth it just to see the interpreters - and the occasional flirting cat). The Lion King. My Fair Lady. Jersey Boys. High School Musical (what parts I understood without interpreters, that is). Wicked. Spring Awakening. Rent. The Phantom of the Opera. Cats. Grease. Mary Poppins. A Chorus Line. In the Heights. Billy Elliot.

Thank you.

In front of the Orpheum Theatre on Hennepin Ave.

For those in the area, please check out their website at www.hennepintheatretrust.org

New Blog to Visit

2012-01-01T17:45:00.000-05:00

Hello all, and a very happy new year to all!

I would like to start off the new year with a bang - and start another blog. The new blog will keep up with the Harry Potter 365 and one-quarter days challenge of writing about the beloved wizard for three hundred sixty-five and one-quarter consecutive days.

Now, why did I mention this on this particular blog? One, I am the author, and two, some of my postings will relate to the artistic world and/or the Deaf world including memories and cultural comparisons. Any posts I do relate to the artistic world or the Deaf world will be mentioned here - so fear not about missing revelant entries.

Please come and visit us at www.harrypotter365challenge.blogspot.com (Feel free to join in the challenge - or keep up via commenting).

New Schedules

2011-12-13T16:37:00.001-05:00

During the blog renovation, I moved the cluttered list of scheduled sign language interpreted and captioned performances to the tab bar on top to make it look more streamlined. In doing so, I updated the schedules with the venerable favorites but added several new schedule links, especially for our folks across the pond. I also removed some inactive listings and updated the links (as some organizations such as VSA Arts MN updated their websites as well).

I now have comprehensive and semi-comprehensive listings for the following cities:
US: New York/tristate area, North Carolina, Chicago, Minneapolis-St. Paul, San Francisco, Los Angeles, Detroit, Seattle, Portland and Washington, D.C. (I removed Philadelphia as Creative Arts' website was no longer functional).

UK: London, Edinburgh (added Edinburgh through a lucky Google search)

Australia and New Zealand are the newest additions to the list.

c2 (USA) and Stagetext (UK) are both captioning / subtitling organizations that also provide listings for other cities not mentioned on the list, so be sure to check them out as well!

But the list is far from complete. While many theaters and arts organizations do provide a list of accessible shows, they are usually venue by venue, necessitating the patron to check them all to see what was available. Comprehensive listings like HandsOn and VSA Arts MN help make the search quicker by having them in one area rather than spread over twenty websites. Until then, we will continue to keep our eyes open for hidden listings out there.

If don't see a particular city's listing, please do give us a shout-out and we will add it to the listings for other patrons to peruse!

In the Spotlight: International Center on Deafness and the Arts

2011-12-06T15:05:00.002-05:00

Here's the first entry in the new series of postings In the Spotlight where an organization or event will be reflected upon. First up is Centerlight Theatre, a project under the International Center on Deafness and the Arts banner. The organization based in the northwest suburb of Chicago in Northbrook, Illinois is where I got my start in the theatre arts - and as I mentioned in an earlier posting, the Academy-Award winning actress (and former Dancing with the Stars contender) Marlee Matlin did as well. There must be something in the water in Chicagoland to produce such a rich crop of Deaf artists!

The organization consists of several programs including the renowed Centerlight Theatre where shows are put on simultaneously in sign and voice (namely musicals); Story-N-Sign, Traveling Hands Troupe, Icodance, International Creative Arts Camp and the traveling Museum on Deafness. For more information regarding a particular program, please visit the website at www.icodaarts.org .

The following video showcases the programs and success of the organization:

Watch on YouTube

To see what Marlee Matlin has to share about her experiences at ICODA as a youth, please watch the following video:

Watch on YouTube

My start with this amazing organization came at age six when my grandmother mentioned it to my mother. We trooped out to see a production of Bye Bye Birdie put on by the teenagers and adults. I still remember sitting on the floor (adults sat in chairs but us kids sat up front on the floor for the best view) and gawking up at the actors who I couldn't believe were Deaf and Hard of Hearing. There was a misconception amongst deaf youngsters back then that when they turned 18 and 'grew up' they would become hearing - or die. This debunked the 'myth' since the original belief formed when we really didn't have much exposure to Deaf adults - and successful ones at that. So seeing Deaf teenagers and adults put on a show - let alone a musical - was mind-boggling. I wanted to be part of it.

(Flashback: as I saw the latest ASL Films production of Versa Effect, I recongized the principal as the actor who played Mr. McAfee all those years back in Bye Bye Birdie! Dug out my box of old Playbills and programmes to make sure : )

Enter Youth Fine Arts Day where I participated in a full day of arts and crafts amongst other Deaf and Hard of Hearing youngsters. What I remember most vividly about this day was the talent showcase where I performed "Do-Re-Mi" from the musical The Sound of Music. Here is a picture of me signing 'name' as in "Mi (me), a name I call myself":

(Please disregard the horrible "stylish" fashion that was all the rage in the mid-1990s. A time capsule portrait, indeed.)

Soon after, the center put on a production of Alice in Wonderland and I auditioned for the show. I knew I didn't want to be Alice (after all, she was blonde... and a bit lost. : ) The character of the Caterpillar seemed a better match - I was quite the bookworm back then and the prospect of reading onstage while in character was appealing. I got the character I wanted - but imagine my disappointment when the stage prop serving as the 'book' wouldn't open! There went my chance of secret-reading on stage while ignoring Alice's pleas for help navigating Wonderland. Here's a picture of myself with some of my fellow castmates:

(An appropriate caption for my facial expression would be: "Dude, what's up with the book that wouldn't open? What's the point of having a book that nobody could read?")

My mother made my lovely costume and I still have the leftover scraps of the fabric used to tuck away in my memory box. I wonder if the original costume is still in the costume archives at ICODA? Perhaps I should ask...

What has ICODA done for myself? I stand by what I mentioned in this article, Champion for Deaf Children: "Alumni include Kaitlyn Mielke, 25, who credits her stage experience for transforming her from 'a shy child who simply nodded yes or no to everything, to a full-emerged drama queen.'

'I became more confident in myself, in school, in life, at work - everywhere,' says Mielke, a student at the University of Minnesota and Miss Deaf Minnesota."

In short, ICODA and the folks involved helped pave a path in many disciplines, not only the theatre and the arts, but in self esteem, in confidence, communication as well. Echoing Marlee Matlin's words, "if it weren't for ICODA, I wouldn't be where I am today."

If you're in the area, be sure to stop by and catch a performance of Into the Woods, playing Dec. 2nd-18th at the beloved Black Box Theatre at the center! To the actors and crew involved - break a finger : )

Alan Champion Memorial Fund

2011-12-04T18:47:00.001-05:00

In an earlier posting, I wrote about giving back to the community. There are many organizations and events that one could donate/contribute to (whether it is by monetary means, or volunteering oneself, the choices are endless). The Alan Champion Memorial Fund for Interpreted Theatre presented by the HandsOn organization based in New York City may be one for readers to consider.

For those who may recall my earlier posting on the late Alan Champion (alter ego: Mr. Broadway Interpreter), the fund continues in his name to encourage more sign language interpreted events.

"At his request and in his honor we have established the Alan Champion Memorial Fund, where your support will go to help us continue the sign interpreted theater he so dearly loved. We hope that Alan’s legacy will be that interpreted theater continues to thrive and flourish for the benefit of the Deaf community." (HandsOn)

As a longtime patron of the arts, I decided to donate to this organization this holiday season. I try to pick different arts organization every year to donate to. This year's contribution was made in memory of my late grandmother who also had a passion for the theatre and shared my love of musical theatre. She was the one that told my mother about the arts program at the Center on Deafness (now the International Center on Deafness and the Arts) and spurred my theatre days as a spectator and as an artist. Fond memories of signing "Do-Re-Mi" from The Sound of Music during its Youth Fine Arts Day as well as performing onstage as the lovable Caterpillar in Alice in Wonderland come to mind.

(Fun Fact: the Academy Award-winning actress Marlee Matlin also got her start at the same organization performing as Dorothy in The Wizard of Oz.)

If my contribution enables that a child or adult has the opportunity to experience something I love and hold dear - the magic of live theatre - then it is defintely more than its worth.

Please consider making a contribution to an arts organization, either locally or nationally or even internationally to promote access to the arts for all. If you have made a donation, please share the name of the organization/event in the comments section to inspire others to follow suit!

*Photo Credit: BroadwayWorld

Giving Thanks

2011-11-18T15:12:00.001-05:00

The holiday season is upon us. Gifts - parties - cards - checking our lists twice to make sure we've gotten everything done in time for Santa to do his yearly rounds.

It is also the time of the year where many people give to charities and funds. In consideration of the American holiday of Thanksgiving coming up soon, I would like to share a moment to list the the things I"m grateful for:

- Sign Language Interpreted performances, no matter how few there are out there. The fact alone that they continue to exist and bring joys to hundreds of Deaf theatre patrons brings happy memories of seeing my first interpreted Broadway (touring) musical at Disney's The Lion King.

- Captioned film showings * as well as captioned live performances *. We've come a long way from captioned television to the continuing campaign to caption the Internet.

- Organizations and agencies that promote access to the arts for persons with disabilities including the Deaf; from Theatre Development Fund in New York to VSA Arts and its chapter affliates and everything in between as well as our sister organizations over the pond.

- Scripts (when I can get my hands on them) and CD insert booklets with song lyrics. They have proven invaluable from time to time in terms of preparation.

In short, I would like to thank all the sign language interpreters, captioners, professionals, advocates, allies and audiences everywhere - you know who you are. Keep up the hard work!

To honor those who have shown their passion for the arts to ensure access for everyone by going above and beyond, I plan to give back to the arts community to keep the circle moving. (cue "Circle of Life" from the musical The Lion King here). I ask you to do the same - whether to a local theatre organization, or a 'Send a Child to the Theater' program, or any arts access organization - be sure to keep the circle moving.

Thank you.

*For our non-American readers, please consult the Schedules tab to find your captioned showings

Broadway Actress' Official YouTube Channel Now Captioned

2011-11-16T13:51:00.001-05:00

The power of the fandom out there is certainly influencing the number of captioned videos posted on YouTube. Reports of captioned video shorts from musicals (particularly a bootleg cut of Wicked) are floating out there. The YouTube channel for Rent is still faithfully churning out captioned videos as usual. Not only that, the YouTube channels of Broadway actors are now joining the bandwagon.

Idina Menzel, a Tony-award-winning actress known for Rent and Wicked and currently starring as Shelby Corcoran on FOX's hit show, Glee has an official YouTube channel. A request from a fan spurred a move to caption the videos on her channel. Most (if not all) of the video announcements and shout-outs are now captioned for her fans (and theatre lovers in general). Check it out here! It also has been added to the list under the Media tab above.

For those in the Toronto, Canada area, she will be performing Nov. 17 and 18. There's a video shout-out on her channel - so be sure to check it out. (Captioned, of course!)

Be sure to visit her channel and leave a note of thanks to show your appreciation for captioning the videos.

Let's see who the next performer to caption their channel will be!

Any Dream Will Do

2011-11-15T17:56:00.001-05:00

Why did I start this blog in the first place? I wanted to share my love for the arts with others as well as reflect on the (limited) offerings for access to the arts for the Deaf, Hard of Hearing and Deafblind audiences.

(cue "Any Dream Will Do" from the musical Joseph and the Amazing Technicolor Dreamcoat.)

"Any dream will do." My exposure to the world of musical theatre occured as a child when I saw the production of Andrew Lloyd Webber's Joseph and the Amazing Technicolor Dreamcoat at the Chicago Theatre. Captivated by the magic of live theatre - the lights, the sounds, the sights - I noticed something was amiss. No sign language interpreters. No captioning. No script. Nothing.

Seeing the show wasn't enough. As a Deaf theatre patron, I wanted to be able to understand the action unfolding onstage and I knew I wasn't the only one. Access to the visual and performing arts for the Deaf, Hard of Hearing and Deafblind is oftentimes an afterthought; and services provided vary greatly from venue to venue. One location may have a single interpreter struggling to keep up with the cast of Les Miserables while in another venue one may find up to 16 interpreters keeping sync with the Radio City Rockettes. Want to see the latest movie? It depends on the location and the venue - and the captioning style as well. What about the historic tours in various cities and landmarks? It all depends. One thing they all have in common is a lack of awareness of access options in addition to inconsistent quality of services provided. Why do we remember the outstanding interpreters? The horrible horror interpreters? Nonexistent captions - or ineffective captioning? Exactly.

My dream? My dream is to see a rise in access to the visual and performing arts to attract more Deaf, Hard of Hearing and Deafblind enthusiasts; from Shakespeare to the latest Broadway musical, from television to the big screen as well as the Internet and beyond. To do so, we need to establish standards for performing arts interpreting that focus not only on the mechanics but on the theatrics of their craft; advocate for greater access to media through captioning; and educate the community through awareness. Being able to enjoy the arts is a right, not a privilege.

Despite its spotlight, the face of access to the arts for Deaf, Hard of Hearing, and Deafblind audiences hold numerous challenges that have yet to be formally addressed. The lack of standards leads to an imbalance in service quality and access options. The visual and performing arts hold a vital spot in our lives and the connection between the stage or screen and the audience must be maintained with not just 'good enough' but to ensure that Deaf, Hard of Hearing and Deafblind patrons feel like they belong there amongst their hearing co-patrons. After all, 'the show must go on'!

And hence, the reason for this blog : )

Welcome Back!

2011-11-15T17:41:00.000-05:00

Hello, dear readers and followers (and the occasional dabblers);

I'm back after a long absense from this blog. Feeling it was time to change the look of the blog, I've updated the design and layout to make it easier on the eyes (particularily for our Deafblind readers). Hopefully they will enhance the reading experience for many.

The move to include the visual aspect (whether it be material such as paintings or sculptures or shown on a screen such as television or film) prompted the change to the byline of this blog to reflect today's changing world of multimedia viewings of artistic topics.

Stay tuned for new content and insight on issues and perspectives in the visual and performing arts as related to the Deaf, Hard of Hearing and Deafblind enthustiasts. Let's not forget our Deaf Allies as well - friends, parents, teachers, advocates and interpreters too!

Remembering Alan Champion

2011-04-25T17:29:00.007-04:00

Affectionately known as Mr. Broadway, Alan Champion, an interpreter on Broadway, passed away April 22 from cancer. Mr. Champion was a well-known face in the theater interpreting field and will be missed by many.

The New York Times covered his career and life in this well-written obituary.

"Alan Champion, a sign-language interpreter who opened up hundreds of Broadway and regional theater productions to deaf and hard-of-hearing audience members over the last three decades, died on Friday in Ramona, Okla. He was 55." Read the rest of the article at:
http://www.nytimes.com/2011/04/25/theater/alan-champion-sign-language-interpreter-for-theater-dies-at-55.html

And now, a tribute to Mr. Champion's presence in the theater world.

This video made in the fall of 2010 gives us a poignant reminder of Mr. Champion's unfailing humor as he and a team made a video in response to a facebook posting of a premature death announcement.

"He is Not Dead Yet"
(a parody of the song from the musical SPAMALOT - considered fitting for the team of B'way interpreters with a cameo from Keith Wann).

http://www.youtube.com/watch?v=G3wFQ-ED8AM

"When Theatre Meets Sign Language"
(Closed-Captioned)
This video from Theatre Development Fund (TDF) features both Mr. Champion and his long-time co-team Candace Broecker-Penn as they cover the finer details of theatrical interpreting. (It features one of my favorite shows of all time - MARY POPPINS!)

http://www.youtube.com/watch?v=wUK_OUxN-1Q&feature=BFa&list=PLEBE705929852B877&index=11

Alan Champion, Broadway Interpreter Extraordinaire, you will be remembered. May the lights of Broadway be dimmed in memory of you.

(*standing ovation accompained with a show of hands*)

Please take a moment or two to share your stories and memories in the comments section.

Deaf Featured on Oprah and THE SOUND OF MUSIC

2010-10-30T14:48:00.001-04:00

On Thursday, October 28th, the Oprah Winfrey Show presented a 45th anniversary reunion of the cast of the highly acclaimed movie musical, THE SOUND OF MUSIC. During this particular show, a Deaf person (the current Miss Deaf Minnesota) was featured during the segment of how the film affected the lives of several fans. (See the four fans and their "stories" here at http://www.oprah.com/oprahshow/How-The-Sound-of-Music-Affected-Their-Lives/4
(hit the previous/next buttons to see the other fans).

The entire show has been found on YouTube - the autocaptions do work occasionally (usually when Julie Andrews is speaking, they are more accurate - though the captions give up when there is music playing). But I do give the AutoCaptions some kudos for trying their best : ) (Don't forget to toggle the AutoCaptions button).

The part showing the Deaf person sharing her experience is shown during Part II around the 8:45 mark.

Part I
http://www.youtube.com/watch?v=2VgEma1JGE8
Part II
http://www.youtube.com/watch?v=BMPKNVyWCCQ&feature=related
Part III
http://www.youtube.com/watch?v=RYBp-10WHAA&feature=related

"Show Business" Video Extras Now CC

2010-09-06T17:38:00.004-04:00

A nice Labor Day surprise for our fabulous Broadway fanbase - a video update! Here's some of the video extras from the SHOW BUSINESS: THE ROAD TO BROADWAY DVD (we are working on captioning the rest now). The original DVD release did not carry captioning or subtitling, hence our little project. The feature film itself is completely captioned, all 11 parts of it (check it out at our Youtube channel: http://www.youtube.com/user/ASLPerformingArts

As promised, the video extras:

Link:
http://www.youtube.com/watch?v=LOmSXL-VEjE

(Don't forget to toggle the CC button!)

Okay, a hint for those who have been anticipating each video - the next video extras will cover the musical WICKED!

Miss Deaf America 2010 Reflections and Other Tidbits

2010-08-25T14:53:00.003-04:00

Busy summer = few postings if any!

In July, I had the opportunity to represent Minnesota at the 2010 National Association of the Deaf/Miss Deaf America Ambassadorship Program. I took my platform (arts advocacy - what else?) and my talent ("Defying Gravity" from Wicked). The experience itself was very rewarding and the networks I made shall come in handy someday!

Now, for the "arts edge" report - the opening performance we did. Now, there have been some discussion regarding the "Deaf" kids on Fox's Glee and their rendition of "Imagine" by John Lennon. With that in mind, the 11 states and former Miss Deaf America (Michelle Lapides) put on a stellar performance cover of Glee's version of "Dream On!" This time - with choreography included instead of standing stock still. Not perfect, but we're getting there! Once a video has been leaked of the final performance on the final night, it'll be shared up here with you guys! (There is a preliminary version floating around YouTube as we speak...)

We also doctored up the venerable favorite, "The Star Spangled Banner". Instead of having one person sign it while the rest hold flags, we had Michelle sign the entire thing while we girls sang "backup". (Again, when I get the video, clip will be shared). There is a "teaser" view at DeafNation's coverage of the NAD convention - but sadly, not the whole thing.

There are yet more videos captioned at DisneyOnBroadway - so check them out! (Don't forget to send them a thank-you note to show your appreciation!

Show of Hands is currently captioning a new set of videos so expect them soon!

As for my memoirs (on deafness, cochlear implants and musical theater), the manuscript is currently complete. The catch? No agent yet. I received 17 rejections thus far - but that's life! Many other works that made it have received anywhere from 10 to 250 rejections so I'm not worried. One agent even told me that it wasn't that I wasn't 'good enough' for him - but rather, he felt that HE wasn't good enough for ME! How's that for irony?

Until then.

Auditioning for GLEE

2010-04-24T14:16:00.004-04:00

Hello again!

GLEE (the wildly popular TV show on FOX about a high school glee club) is holding open auditions where hopefuls can submit audition videos via their Myspace profile: http://www.myspace.com/gleeauditions

This show featured d/Deaf students signing "Imagine" during the Hairography episode which fueled some hot debates on various sources.

Now, any of you Gleeks thinking of auditioning? (or if you already auditioned, share them with us!)

So far, there has been one audition submitted by a d/Deaf Gleek. Check out her version of "Rehab": http://www.myspace.com/gleeauditions?link=30458614

Looks like we have some talented people out there! (If you're a MySpace user, don't forget to leave a gold star or two!)

Google Announces Kickoff of Automatic Captioning and other Tidbits

2010-03-04T19:57:00.002-05:00

It has been brought to my attention that Google (which owns YouTube) has kicked off the start of Automatic Captioning to the many (millions) of videos streamed on YouTube. Now, not all the videos sport this capability as there are just too many videos but they are slowly appearing on channels such as the Guthrie Theater in Minneapolis (guthrietheatre) among others.

Read the original article at: http://www.readwriteweb.com/archives/youtube_turns_on_auto-captions_for_all_vidoes.php

Here's a sample of what it looks on a video appearing on the Guthrie's channel:

Link:http://www.youtube.com/watch?v=Hfdd_yUnqXY

Click on the red CC symbol to activate the Automatic Captions (a pop-up window will alert the viewer of the "raw" captions to be expected - the system is not without glitches yet and that they are working on it).

In addition, Theatre Development Fund (in NYC) has now started captioning their videos on their YouTube channel as well - here's a glimpse on a video about on-stage captioning in London's theatres provided by Stagetext:

Link: http://www.youtube.com/watch?v=5nUoJSTR37c&feature=channel

Some of their videos have burned-on captions (such as the one above), others use the Automatic Captions, and others are still uncaptioned.

Lastly, if one types in Everythingisrent into the search engine at Youtube, one will be pleased to see that the "CC" symbol now appears next to the title for user-created captioning. This makes searching for captioned videos much easier!

Let's put out hands up for Google (and make YouTube as well - let's show the folks at Netflix how it's done!)

"A Listening Ear"

2010-02-16T21:42:00.003-05:00

It is a small world, indeed. Several people contacted me recently to congratulate me for getting my name in print - only to leave me confused. What article? What magazine? Then I turn to my trusty friend - Mr. Google - and found the article, quite a lovely one at that.

The blurb mentioning me is as following:

"...Alumni include Kaitlyn Mielke, 25, who credits her stage experience for transforming her from 'a shy child who simply nodded yes or no to everything, to a full-emerged drama queen.'
'I became more confident in myself, in school, in life, at work - everywhere.', says Mielke, a student at the University of Minnesota and Miss Deaf Minnesota in 2008."...

Please proceed to the following link to read the full article regarding Dr. Pat Scherer and the folks at the International Center on Deafness and the Arts (located in Northbrook, IL)

"A Listening Ear" by Vicki Gerson (Published Feb 4, 2010 in American Profile)
http://www.americanprofile.com/heroes/article/37958.html

As for me, I recall my days at ICODA as a youth (though I wish I could have stuck around longer to participate in more productions, but I will always treasure the moments I did have - not to mention the photos and friends I keep in touch with via Facebook!)

For more information regarding the programs offered at ICODA, please visit their website at the following link: http://icodaarts.org/

Funny how this was printed just around when I (finally) discovered a photograph thought to be lost - but now found! This photograph of me (at age 2) taken with Marlee Matlin in 1988 at an event at Harper College (in Illinois).

Guthrie Theatre Presents ROMEO AND JULIET (video)

2010-01-11T14:54:00.002-05:00

Doing a little publicity for the renowned Guthrie Theatre, located in Minneapolis, MN. They are starting to post video announcements done in ASL and sporting closed-captioning. (They are really committed in making their venue and their productions accessible to everyone).

Here's the first one, for ROMEO AND JULIET. Don't forget to toggle the CC button on the lower right hand corner of the screen.

Come and see the show - bring your friends, your family, your co-workers! Not in the Minneapolis-St Paul area? Make a trip out of it! We know the Deaf community is small - tell your friends in the area to come to the show!

Video:

Link: http://www.youtube.com/watch?v=juJZ2mWiMNg

"Show Business" and GLEE

2009-12-30T17:29:00.004-05:00

Parts 7-10 of the documentary "Show Business: the Road to Broadway" is now up on YouTube with captioning! (Finally we reach the Tony Awards coverage for those four shows that participated in the documentary!). We are working on captioning the rest of the installments.

"Show Business: the Road to Broadway" is a DVD documentary chronciling the journeys made by four musicals during the 2003-04 season: WICKED, TABOO, AVENUE Q, and CAROLINE, OR CHANGE. Of all, only WICKED is still running. The original DVD was not released with captioning nor subtitling, thus our little project in adding captioning for our Deaf and hard of hearing fans.

(As soon as we finish this project, we will move on captioning other theatre-related media - any requests? Please send them to us! (Or post under 'Comments').

Before we continue to showcase the captioned parts; I would like to inform our viewers that the GLEE Season 1 Vol. 1 DVD is indeed captioned and subtitled as well. However, there is one issue that I see - the bonus features are NOT captioned nor subtitled. This is a grave error that I wish they would have done something about - especially given that they had Deaf and hard of hearing actors in the show proper. Perhaps a shout out to them, for the subsequent DVDs in hopes they will provide captioning or subtitling for the bonus features?

And now on to "Show Business: the Road to Broadway" (Links are provided under each snapshot; do not forget to toggle the CC button on the lower right hand corner of the video screen).

Part 7

Link: http://www.youtube.com/watch?v=JQRMBMoRR-A

Part 8

Link: http://www.youtube.com/watch?v=hhP7n22XNe8

Part 9

Link: http://www.youtube.com/watch?v=uUKptIKmH9M

Part 10

Link: http://www.youtube.com/watch?v=8Rux5E3fK-I

In the Heights

2009-12-07T11:57:00.003-05:00

Another theatre event to keep the boredom of writing term papers at bay... (The semester's wrapping up so it was nice to run away to the theatre for three hours to escape the neverending pile of assignments to finish!)

The touring Broadway company of In the Heights visited the Orpheum Theatre in Minneapolis this past week and the interpreted performance was yesterday. I was nervous that there would be only three Deaf patrons but imagine my surprise when I saw the ASL section full (with some interpreters scattered around). It's wonderful to see a large turnout from the Deaf community, given the stigma associated with theatre. (My friend and I had a lively discussion about "the arts versus sports" and how one had to choose between one track and the another - never mingling the two, due to schedules and expectations). Another reason of why it may be full is that it's a new show and made its premiere appeareance in the (frigid) Twin Cities.

The two interpreters were amazing as usual - they used some innovative interpreting techniques, especially given the bilingual approach of this show (with both English and Spanish used). From the naked eye, it appears to be Rent meets West Side Story put in the Washington Heights neighborhood of New York. (In fact, the playwright, Lin Manuel Miranda referenced to Rent being an inspiration that made him write In the Heights).

Due to the Spanish language infusion, the interpreters decided not to translate the Spanish into ASL (as some have done in other productions using Spanish such as West Side Story; or foreign languages (such as "Wilkommen" in Cabaret which uses French, German and English lyrics); but rather, they turned to LSM (Mexican Sign Language, the closest they could get to knowing someone that used the sign language used in the Dominican Republic). This strategy was mainly used during the scene where Nina teaches Benny the Spanish words for 'sunrise' (which leads to a song number of the same theme). I felt this was effective - it gave us a flavor of the bilingualism used without watering it down with ASL .

For me, it was a refreshing experience - as I'm not sure which method I like better. I'm accustomed to memorizing the entire script/libretto; watching the film equivalent (if one is available) or the stage recording; listening to the cast recording on my iPod - the works. (Did it with most of the Broadway tours that came through town - especially Rent, The Phantom of the Opera, Wicked and Mary Poppins.) That way I'm prepared for everything and lets me watch the show more than the interpreters. But at the same time, I don't have the "first-time experience" that others experience by doing little or no research for the show. With this show, I did not have the chance to memorize the script/libretto, which provided some 'surprises' along the way and I could see it the way most of the audience was seeing it without having the script playing in ones head during the show.

Which do you prefer - seeing the show with a fresh eye, or mentally preparing for it (just in case the interpreters don't work out or don't meet your expectations)?

Deaf Students on Fox's GLEE

2009-11-29T20:14:00.003-05:00

As a die-hard fan of musical theater, I watch GLEE on the Fox channel diligently, saving my Wendesday nights for this treat.

This past espiode that aired on 11/25 titled "Hairography" showcased Deaf actors portraying Deaf characters from the fictional Haverbrook School of the Deaf in Dayton, Ohio.

During this espiode, the Glee team meets with their two opponents before heading to Sectionals (next week, I believe). Their opponents? Bad girls from the Jane Addams reform school and the prevously mentioned Haverbrook School of the Deaf. The girls from Jane Addams performed "Bootylicious" while the Deaf students (before being joined by the Glee cast) performed "Imagine" by John Lennon.

Please watch the episode, available with closed-captioning at either the www.fox.com/glee website or at www.hulu.com (search for Episode 1.11, or "Hairography") before continuing reading as it contains spoilers for those who have not seen the episode.

My thoughts?

1.) Where was the interpreter? I would think, with all the IEPs involved, there would be an interpreter provided by the school or the district for mainstream extracurricular activities? And why did the "deaf" teacher interpret for his students when he couldn't understand most of it himself? I was so looking forward to seeing how the interpreter would cover the number from HAIR with no preparation (i.e. interpreting it 'cold'). Imagine my disappointment when the interpreter was a no-show.

2.) Contrary from the comments read at YouTube, I felt it was rude for the Glee cast to jump into the Deaf students' performance of "Imagine". The Deaf kids didn't interrupt them during their "Hair" number, so why should the hearing students feel a urge to "help" them? But at the same time, I can see how the hearing kids were 'inspired' by the Deaf students and felt moved to join in. But still? Also, the sign language orchestrations felt a bit fake. If it was their first time "meeting" deaf students, then why did half of the Glee team all of a sudden know sign language? Some were obviously semi-fluent in ASL or rehearsed it too many times before 'mirror-copy-signing" their partners on the Deaf team.

3.) The lipreading joke is getting old. (Referring to the part at the end with Sue Sylvester meeting with the two coaches of the opposing schools). But again, someone with single-sideness deafness can still function as a hearing person - I felt that wasn't portrayed accurately.

4.) Kudos to GLEE for portraying actual deaf students; opposed to casting an abled cast member to play Artie, the wheelchair kid. It's a start - even though it's the third time it showcased a person with disabilities. (First Artie, then Becky, the kid with Downs Syndrome, then now Deaf kids).

What are your thoughts?

Grease is the Word!

2009-11-24T21:23:00.003-05:00

Saw Grease this past Sunday at the Orpheum Theater. This was the second stop for the national Broadway tour in our town, but my first time seeing a production that wasn't done by summer stock theater. (I missed the first round last year when I flew out of state). My intial thoughts? Cute. Had a lot of potential, just didn't realize it - could have skipped this show but I went to see it because of the crazy-talented interpreters ; )

This production took the best parts of the original Broadway script and added several songs from the film starring John Travolta and Olivia Newton-John ("Grease", "Hopelessly Devoted to You", and "You're the One I Want"). Otherwise, it was pretty much a carbon copy of the film (and I found the film more entertaining than the stage version, perhaps as the energy was not there on stage.) Nevertheless, still a cute 'fluff' show.

Honestly, I felt the two interpreters did a much better job of conveying the show than the actual actors - I felt the actors were lacking... something. They certainly didn't put out the best show - nor was the energy 'there'.

Now, the interpreters...

The verdict? WOW. There is a fine line between interpreting adequately and overinterpreting (and thus stealing the spotlight from the actors). But what to do if the interpreters clearly do the job better than the actors? Do they 'dumb' down to match the actors - and give lackluster versions as their counterparts on stage did? Or do they give the ASL audience the 'best' version possible - even if it means surpassing the actors in terms of energy and delivery? Issues, issues! In my case, I would rather the interpreters do the best they can, regardless of the actors onstage, but there are others that may disagree with me.

I love it when the interpreters blend into the show by 'dressing up' - but still retaining the 'interpreter black'. It helps draw them into the show, and for the audience, easier to make the connection. How did they do this? Terp Guy had a black T-shirt with bluejeans. Did he grease his hair? You bet! With a little twirl in front as well. His teammate, Terp Lady had a black shirt with a black poodle skirt. Her hair was pulled up in a ponytail with a ribbon to bow it off. They looked GREAT (and certainly helped paint the scene of 1950s America).

Best translated songs:

"Greased Lightning" (Seriously, this songs looks so much better in ASL than when it's sung in English. Somehow those classifiers came in handy...)

"Mooning" (The interpreters were able to convey the multiple meanings of 'mooning' (pulling one's pants and baring their backside for one; looking lovingly at one's sweetheart, etc)

"Look at me, I'm Sandra Dee" (for those wondering, they did NOT fingerspell 'Sandra Dee' but rather, made the iconic hairstyle with their hands by curving their hands to follow the hairline followed by a fluff at the bottom.)

"Born to Hand-Jive" (Yes, the interpreters participated in the 1950s staple dance movements!) With this song, they took some liberties and got rid of the English lyrics in favor of revitalizing the song as an ASL/Deaf culture song - ie, the mulitple meanings of hand-jiving by using sign language as one. (In other words - 'born to sign'). Did it work? Yup! I thought the ASL version actually surpassed the original lyrics, while retaining the flavor of the original.

Songs that needed work:

"You're the One I Want" - I felt that this one was forced - forcing the ASL to somehow create something out of the English lyrics. It works until one signs 'want' and then it feels forced. (It just didn't flow well in sign language).

Trying to think of the others...

Eventually, by the time "Greased Lightning" came around, I let my eyes watch the interpreters more often than the actors - they seemed to show the songs and story better as I was disappointed by the flatness of the actors - I've seen better summer stock productions with higher levels of energy and 'togetherness' going on.

Last two cents:

Show - mediocre - compared to other recent revivals such as My Fair Lady and South Pacific, this show clearly needs work. But then, it's on its last leg of the tour before shutting down so the cast may be mentally ready for something new to move on.

Interpreters - Excellent! (I just feel bad that the actors weren't able to match up to the interpreters' level; especially that it's a given Broadway show.

Interview with Linda Bove on WNYC

2009-11-18T15:00:00.003-05:00

Recently, a publicist from WNYC (the largest radio station in the nation) contacted me regarding an interview held with Sesame Street alumni Linda Bove (voice-interpreted by Alan Champion). While I find it ironic that a Deaf person was interviewed for the radio - but the material that came out of the interview was valuable as it covers the controversial casting of two productions - The Heart is a Lonely Hunter and The Miracle Worker. The interview was broadcast yesterday on the Morning Edition news.

"Last week "The Heart is a Lonely Hunter" started previews at the New York Theater Workshop. The play's central character, a deaf man named John Singer, is being portrayed by a hearing actor – much to the chagrin of the deaf acting community, who believe a deaf actor could play the role with more accuracy and depth. The right roles for deaf actors are fewer and far between… is it fair for these opportunities to be given to an actor who is not deaf?"

The corresponding article can be found here: http://blogs.wnyc.org/culture/2009/11/16/deaf-actors-demand-equal-stage-time/

Many thanks to Emily Haynes for listening to the radio clip and transcribing the interview for all to read:

"The Heart is a Lonely Hunter" started previews last week at the New York Theater Workshop. The action takes places in a small town in Georgia in the 1930’s and revolves around a central character, John Singer, who’s Deaf. The choice to cast a hearing actor in the role has angered some members of the Deaf acting community. They say a Deaf actor could have played the role with more accuracy and depth. WNYC’s Janaya Williams reports:
In the 1968 film version of The Heart is a Lonely Hunter, John Singer was played by a young Alan Arkin. In the movie, the character reads lips and signs, but never speaks. The action revolves around his silent communication with the characters he meets and befriends.
(Clip from movie)
“….I think about you Singer, I could talk to you, yet you listen. You old dummy, you really listen….”
Linda Bove is an actress who’s Deaf and speaks American Sign Language. She says that in retrospect, there was a lot lacking in the movie depiction of John Singer. The voice you’ll hear is her interpreter.
LINDA: Imagine someone who doesn’t speak Spanish going to take a Spanish 101 course before they prepared for a role that required fluent speaking in Spanish. I don’t think anybody would buy that.
JW: She says that in 1968, when Alan Arkin played John Singer, the first generation of Deaf actors was still being trained, and most were not ready to provide such a professional level of performance in that role. But these days, she says, Deaf actors can compete for roles that portray their experience, even if those roles are few and far between. Bove is probably best known as Linda the Librarian on Sesame Street. She says that when a hearing actor plays a Deaf character, audiences are denied a more authentic experience.
LINDA: When a hearing actor plays a deaf character, audiences are denied a more authentic experience. Even an audience that may not know any better, they are just going to swallow the portrayal they are given and not know that it may or may not be accurate. I think you're perpetuating cultural misunderstandings and linguistic misunderstandings.
In the production of THLH that’s in previews now, the character John Singer breaks his silence with two speaking parts. He’s played by the actor Henry Strand, who is not deaf, and learned sign language for the role. That casting decision has angered many people in the Deaf acting community. They say that with so few roles, this feels like a lost opportunity.

LINDA: Hearing actors, of course which is most actors, they take what they learn from their life experience as well. We want that opportunity. I don’t think that we should be denied that opportunity.
JW (Theatre noise in background): At the NYTW days before the opening, the cast and crew are running through a tech rehearsal. The director, Doug Hughes, won a Tony award for directing the play Doubt. He and the actor Henry Strand have been with the production since it premiered in Atlanta four years ago. He says he’s not surprised by the outcry over casting a hearing actor as John Singer.
DH (weirdly pretentious voice): There is a woeful shortage of opportunities for Deaf actors. The immediate addendum to that is there is a woeful shortage of opportunity for any actor. It’s a perilous profession.
JW: Last week, Hughes and the producers met with four Deaf actors who were opposed to the decision to cast a hearing actor as John Singer. The actors made suggestions for making the speaking role more accessible to a Deaf actor, like having the actor sign his lines along with a voice-over. But in the end, nothing was changed. For Doug Hughes, the issue boils down to artistic freedom.
DH: With all respect for what I consider the valid concerns of those who are objecting to what we are doing, I think..uhh… the minute [said like meaanute] you begin to clamp down on the potential for somebody to express themselves, I think you’re starting to head into some very dangerous territory.
AS: Because of the nature of theatre, it’s often an arena for these battles. [JW: Alyssa Solomon is a theatre critique and professor at Columbia University.] Because it’s precisely about pretend and it’s precisely about representation. A character is being represented, and then you also have representation kind of in the democratic sense. Our voices need to be represented, that our experience as individuals and also as members of particular communities have a right to be represented.
JW: In the history of film and theatre the question of who has license to inhabit a character ha come up again and again. In 1990, a Broadway production of Miss Saigon angered many Asian-Americans actors when a white Brit was cast in the lead role of a mixed race Asian man. More than 100 protesters showed up on opening night, and the incident was the inspiration for playwright David Henry Wang’s play, Yellow Face. Two years ago when Angelina Jolie was cast as Marianna Pearl, the mixed race wife of journalist Daniel Pearl, in the movie A Mighty Heart, some complained that Marianne Pearl’s race was being “whitewashed.” But director Doug Hughes says it’s the nature of acting to inhabit characters that may have lives different from our own.
DH: The fact that our experience in life is not directly analogous to the experience of the character is in a way one of the great joys of performance. It means that our imaginations are capable at making a valid stab at understanding others. That’s the essence of the drama.
JW: The issue isn’t going away. The play The Miracle Worker opens at circle in the square theater in March. The young Helen Keller, who was blind and deaf, will be played by another hearing actor, the Oscar-nominated Abigail Breslin. Linda Bove says that the producers of TMW met with a group of Deaf actors, and they agreed to hire a Deaf understudy for the role. Bove smiles with excitement and says it’s a step in the right direction.
LB: We’re really hopeful that we find the right Deaf girl to be the understudy in this production of Miracle Worker. And it seems like a small step, it might be a small step for you. It’s a small step for us, but I think it’s a very significant small step because it made them realize that they needed to include the community in this decision.
JW: Director Doug Hughes says that he does hope to work collaboratively with talented Deaf actors and Deaf theatre groups on future projects. Linda Bove says that the organized opposition to these casting choices has turned into a learning opportunity for the Deaf acting community. She says it’s highlighted the need to be more proactive in reaching out to producers and arts organizations where Deaf roles are concerned.
For WNYC, I’m Janaya Williams.
/end of transcript

The Miracle Worker - Thoughts

2009-11-13T15:15:00.002-05:00

With the recent news of casting Abigail Breslin in the iconic role of Helen Keller in the Broadway revivial of The Miracle Worker fueling controversial thoughts, I did some research and some thinking.

I do understand both sides of the controversy of casting a sighted and hearing actor to portray a Deafblind character - the money issue and wanting 'star power'; the objections regarding Ms Breslin's role and whatnot. There are some statements (mainly from the Miracle Worker thread on www.Broadwayworld.com/board ) that I would like to clear up:

Many (successful) productions of The Miracle Worker have used hearing/sighted actors - Patty Duke, Melissa Gilbert, Hilary Swank, the Pepsi kid in the TV-made version... Where were the objections regarding those casting decisions?

With Abigail Breslin in the role, her ready-made audience will show up, fueling greating awareness of deafblindness and Helen Keller's legacy. So with her in the role, it can enhance theatergoers' knowledge. (Though I do object that they did not audition deaf/blind/deafblind children when they made the casting decision - only after for the role of the understudy... to me, that's sending out the wrong message.)

The statement about it being easier to cast a hearing/sighted actor in the role for safety reasons is uncalled for. With this statement, the original thought was that a Deaf, blind or deafblind actor was liable for greater risks of injury, either to oneself or another actor? Take the fight scene - I've seen several (hearing AND sighted) Helens take a header into the orchestra pit. So, if the risk is there for a hearing/sighted actor taking a tumble, the same goes for deaf/blind/deafblind actors as well.

Another comment stated that it would take longer to train the deaf/blind/deafblind actor in catching the cues. Longer? No. A deaf/blind/deafblind actor can learn the cues the same way a hearing/sighted actor can - just in different ways. Instead of an auditory cue, they could substitute a visual/tactile cue. One needs to think outside of the box regarding cues and accomodations. It's not impossible.

My question is, what kind of accomodations will they offer to the audience? Since it's got Helen, I'm sure there will be a greater turnout of deaf/blind/deafblind theater patrons - so what services will be provided - and when? Will they follow the customary one-interpreted-performance and/or one-captioned-performance - or will they go out of their way and make all performances accessible via means of captioning or Supertitles (cheaper than hiring an interpreter for the full run of the production). Will scripts-on-demand be made available? That's what I'm wondering about. (It would be ironic if they did not offer some sort of accomodations...)

This sceanrio makes me reminisce about my FAME days and the controversy it fueled. I auditioned, got in - and immediately I got notices of "pity casting" and "Deaf cannot succed in musicals" as well as "Deaf people can't play hearing characters". I did not hear/see any comments about our Tyrone Jackson being Caucasian instead of African-American; that our Carmen Diaz was not Latina at all, but a Caucasian Idaho-born native. Why the flak about a Deaf actor performing in the ensemble? There was also the comment about no Deaf/hard of hearing students at the FAME school (LaGuardia High School of the Performing Arts) circa 1980-1984 (the years the story takes place). How do they know that? Sure, we had challenges - the cues, the musical numbers, whatnot but we pulled it off by working as a team. Acting is all about teamwork - helping one another and being helped in return.

"I'm alive and I will survive... show the world that I can take it... when I hit the heights... put my name in lights...." - FAME on 42nd Street

For further information regarding the controversies surrounding this production, please visit http://artsbeat.blogs.nytimes.com/2009/10/29/advocacy-group-opposes-miracle-worker-casting-choice/

Remember, it goes both ways.

The Sound of Music

2009-11-02T11:00:00.002-05:00

Many people have asked me how I got involved with musicals given my hearing loss. As I stated, I was exposed to music from an early age - the music of the 1980s. My neighbor would place me on top of a bass speaker to feel the vibrations. It wasn't until The Phantom of the Opera came out did it make an impact - and then, The Sound of Music film with Julie Andrews being one of the few captioned VHS films out there that time. So, here's a slice of history from my experiences, starting with The Phantom of the Opera and rounding off with The Sound of Music...

This one's for Julie Andrews and Wanda!

The hills are alive with the sound of music

With songs they have sung for a thousand years

The hills fill my heart with the sound of music

My heart wants to sing every song it hears.

- The Sound of Music

“Daddy, what you do?” I asked upon entering the TV room dragging my bear along by the neck. My father sat transfixed to the stack of black boxes along the opposite wall. Not pleased at the prospect of being ignored, I prodded him in the arm and repeated my question.

Breaking his trance and sighing, he turned his head to face me. “I’m listening to music. M-U-S-I-C.” he added, finger spelling the foreign word to match my upturned eyebrows. Not understanding the word ‘music’, I lingered on the arm rest while he contemplated how best to describe the concept of music to a three years old daughter who was deaf.

Sighing, he rested his head in his hands while his attention drew back to the mysterious black boxes. How does one describe the phenomenon of music to a deaf person? It’s like trying to define the color red to someone who hasn’t seen in their life, let alone understand the concept of color. To define music, one would have to define a whole series of foreign vocabulary such as tone, pitch, rhythm, and the most abstract word of all - sound.

The black boxes. Somewhere in my mind a fuzzy strip of memory recalled toddling up to the boxes, being drawn to it by the lights. Such fascinating light shows happened when the buttons were pushed. Then a slap on the hands and a curse of intelligible words. Since then I’d learned to stay away from the forbidden territory.

A few days later, at the neighbors’, I found myself aloft as Wanda picked me up and placed me on the largest wooden black box. It had a cloth-covered disk jutting from one side with tiny holes. Not understanding what was going on and why I was back in the forbidden territory, albeit in someone else’s house, I glanced up to watch my neighbor fiddle around with the buttons and lights until the right combination was found.

Suddenly, the surface beneath me gave away to a series of pulsating vibrations. DUNNN!dundundunDUNNN! I clutched the sides of the box and hung onto my bear. Frightened, I looked up at Wanda for an answer to this phenomenon. She called her daughter into the room and between the two of them, they tried to explain in a series of halting signs and much frequent use of finger spelling, that I was feeling ‘music’. While Wanda explained the concept, Nikki stood there with her hands flowing with phrases being signed every now and then. Gradually I got used to the idea that I wasn’t going to be harmed and loosened my grip on the box. Somehow those pulsating throbs shared their chest-jarring effect of the soul-assaulting music it played. Then the vibrations died out as my fingertips rested on the surface, searching for the pulsating beat.

“Again?” Wanda asked while leaning over to push the button. Nodding, I grinned as I spread out on top of the box ensuring every inch was covered by my body. My face was plastered to the surface, awaiting the thumping sensation. DUNNN! DundundunDUNNN!

From my position on the box, I turned my head to watch Nikki’s hands move in sync to the thumping as she attempted to interpret the lyrics. “In sleep he sang to me…. In dreams he came… that voice which calls to me… “ yet at that time I didn’t relate the tactile thumping to the concept of music as I laid there feeling the melody to The Phantom of the Opera.

The next song played itself - which I would find out upon being told - “Music of the Night.” While Wanda painstakingly created a visual representation of the sound with her hands, her daughter signed out the lyrics - finger spelling the more difficult words and fitting them in between signs she knew. Together, they managed to translate Andrew Lloyd Webber’s masterpiece in a stick-and-glue fashion.

“Slowly.. Gently…”

Wanda let her hands drift up into the universal gesture for “stop” or “wait” followed by a gentle touching of air.

“Night unfurls its splendor…”

She brought her hands to the side of her head as she tilted it down in a sleeping pose followed by a gradual waking-up. Hands opened in air.

“Grasp it.. Sense it…”

A power-fist in the air followed by a heart-touch.

“…Tremulous and tender…”

Wanda shivered in lack of chills. Then she hugged herself.

“…turn your face away…”

Wanda brought her hands up in the “halt” gesture and turned her head sideways, closing her eyes as if she was giving me the “talk-to-the-hand” gesture.

“…from the garish light of day…”

She shielded her eyes with a hand as if there was a glare coming in from the twilight outside.

“Turn your thoughts away…”

A finger poised on the forehead in the univeral gesture of ‘think’. Wanda closed her eyes and thunk a bit more.

“… from cold, unfeeling light…”

The shiver again - and a hand brushing the chest in a feel-expressy way.

“…and listen to the music of the night…’

Here, Wand held her hand up to her ear and pretended to listen before ending with a flourish of conductor-worthy gestures. She touched her heart and pretended to go to sleep.

***

My parents learned about the cochlear implant - a device that would enable even the most profoundly deaf person to hear - back in 1987. At that time, the device was only approved for postlingually deaf children and adults. So they elected to wait until the FDA approved the device for prelingually deaf children. My turn came in 1991 when I was five years old.

When the Deaf community learned of my parents’ decisions to go ahead with the implant - it was the classic display of robbing ones’ deaf identity and the need to hearize deaf children. They were told that they were being bad parents for doing so.

Nevertheless, they weathered the controversy and once insurance approved us, we drove the three hours south to the Carle Clinic in Champaign-Urbana, IL to have the operation done.

Back, just before school ended for the summer, I recall sitting in my preschool class at the end of the day. After the usual departing announcements, the teacher turned to me. In a systematized flurry of signs and voice, she announced to the class “Kaitlyn is going to the hospital this summer to have a surgery for a cochlear implant.” She went on to describe the finer functions by comparing them to Rose’s hearing aids. From my seat on the edge of the semicircle, I saw that my classmates’ interest perked up at the prospect of hearing sound. Within my head, thoughts swam around. Memories of people stooping down to eye-level and asking if I were excited at hearing sounds - and went on to list things one could hear. But for me - I was confused - sound? What is sound anyways? I shrugged it off when the teacher repeated what others had said it first.

***

I barely remember being hooked up to the computer via a series of wires, awaiting my first sound. It probably was a series of beeps and warbles, not much different from the remappings I received in later years. Nor do I remember how my mother had wept when my eyes lit up at the first sound I heard. Rather, I remembered the sound that truly touched me - the sound of music.

That moment only occurred a few hours after the initial hook-up I found myself at my neighbor’s house. Stretching out, I awakened from my nap on the floor. Throwing the blanket off, I lifted my head from my bear’s stomach and looked around to contemplate my surroundings. I reached over for the tub of strawberry Jell-O with a spoon resting nearby and sat up. In front of me the TV flashed picture after picture as someone behind me flipped through the channels. Stretching from a relaxing nap I looked up to find Wanda staring down at me with a wide grin painted on her face. She informed me through a series of somewhat halting signs with several gestures thrown in for good measure that my parents had gone back to work.

“You want see a movie?” She asked as she knelt next to the glass case containing several black boxes with the familiar light and button facades. I nodded. My hand raised to my head where the foreign object magnetized to the side of my head just behind the ear. Looking down to my chest I found the pouch-harness with the mini computer nestled inside with its red light constantly blinking in tune to the world turning around me. My neighbor disappeared into the laundry room and emerged with a towering stack of VHS tapes and scattered them on the ground. One by one she securitized the contents of the back while providing a verbal commentary about each choice.

Talking to her own audience of invisible friends (or the cat slethly lurking in the corner), she weeded out movies until she was left with a small pile. Inspecting the pile, she selected a film and said that I would enjoy, aptly named The Sound of Music. (ironically, her second choice, in case it didn’t have closed-captioning, was Mary Poppins. Either way, it would be Julie Andrews who had the honor of bestowing on me the gift of music.)

“A music story?”

She nodded and I shrugged, making myself comfortable among the pillows and bolsters taken off the couch. She popped the tape in and fast-forwarded to the feature presentation. The opening scenes appeared on the screen and I realized that sound was coming out of the speakers - those black boxes with the cloth disks that eluded me a few years ago. Crawling over, I placed my hands on the speakers. Glancing over at Wanda for an explanation of the strange sound filling my head - the audiologist did call it ‘sound’ - but this sound was like no other. It wasn’t harsh and jarring like the airplanes and automobiles that I heard on the way back from the hospital, nor incessantly annoying like the turn signals or the comforting level of speech of people I heard talking overhead.

“Music. M-U-S-I-C. You are hearing music.” Wanda smiled gently as she wringed her hands, watching my reaction. Suddenly, as the aerial views of the snow-capped mountains and little nestling villages of Austria panned by, I realized that the vibrations coming out of the speakers wasn’t just there to scare people, but that music came out as well. Those black boxes on the wall back home didn’t just provide a brilliant light show when buttons were pushed.

Assuming music came out as well when a button was pushed, I crawled over to inspect Wanda’s stereo system. She showed me the dial for the volume which she explained, “made it louder or softer.” Not understanding the concept of adjusting sound, I twisted the dial and the noise intensified, blasting me backwards. Wanda grinned and showed me that I turned the opposite way, the blasting went down to crooning levels.

Mesmerized, I turned my attention back to the film playing on the screen, realizing that movies were no longer just moving pictures but had audio as well.

Bum bum Baum - Bah bumbumbumbum Baum - Bah Baum Baum BAUM BAUUUUM BAAAAH!

Fascinating as it was, I drew breath as Maria came in view and her mouth opened to talk or so as I assumed. Instead, her voiced matched the music floating out of the speakers. “The HILLS are a-LIVE… with the SOUND of MU-sic… with SONGS they have SUNG… for a THOU-SAND YEARS…”

Taking a moment to read the captions, I noticed that the text-blocks on the bottom had little signs on the ends of each row. Pointing them out, I asked Wanda why some text-blocks had signs and some did not.

“Sometimes music can be sung… and that’s called ‘singing’. Maria is singing the song… uh… talking with the music in a flowy way.” She went on to explain that those signs were eighth notes and whisked her daughter’s music book and showed me an example of sheet music with those signs. The closed captions on TV actually differed those singing lines from spoken lines, I noted as the sisters came in to state that they couldn’t find Maria anywhere. I moved over to the speakers to rest my hand on it and felt short bursts of air indicating someone was talking rather than singing.

So that’s what music was… I sat there open mouthed watching Julie Andrews belt her lungs out on that mountainside and reading the captions, I understood every note she was singing. Something I was denied for five years - I had access to it now! Somehow the captions and sound rolled as one, filling the picture and ending my era of silent movies. Aptly, the middle verse of the song presented the euphoria I was feeling at the moment:

“…my heart wants to beat like the wings of the birds that rise from the lakes to the trees / my heart wants to sigh like a chime that flies from a church on a breeze/

To laugh like a brook when it trips and falls over stones on its way/

To sing through the night like a lark who is learning to pray.”

My heart (and ears) had been blessed with the sound of music - and I bade my neighbor to rewind the tape and pay the song again, and again. After seven consecutive replays of the hill scene, she informed me that there were yet MORE songs to come and fast-forwarded to “Do-Re-Mi” to teach me EXACTLY what I was hearing. (“After all, Julie said it best - it’s best to start at the beginning with ‘Do-re-mi’!”) By the end of that number, I was singing along (albeit in sign language, matching Do-Re-Mi-Fa-So-La-Ti-Do with deer-sunshine-me-far-sew-belting note-tea-deer and switching back and forth between finger spelling the choral notes and using the igneous signs they represented.)

Out of the corner of my eye, I saw Wanda sitting there cross-legged with her eyes brimming with tears.

Through Maria and the children, I learned what music sounded like and it paved my path to other great musicals such as Annie, My Fair Lady, Mary Poppins, and of course, RENT. A visit to an old standby allowed me to hear the grandeur of the organ from The Phantom of the Opera and no longer did I have to rely on the earthquakes to create a relationship with the man in the mask. A new world had opened up and I was eager to explore the possibilities that music had to offer. After all, if my parents hadn’t gone off to see The Phantom of the Opera and left me with the neighbor who diligently played the casette tapes for me. If her daughter hadn’t attempted to interpret Andrew Lloyd Webber’s lyrics into crude gestures while her mother tried to play conductor and waved her hands around to imitate the music being played. If they hadn’t put me up on the base speakers and scared me half to death with the earthquakes it produced, I might not have fallen in love with the feel (and later the sound of) the organ music and demanded more…

/end of exercpt.

There, my introduction to the world of musical theater ; ) Hope you enjoyed the tidbit from my upcoming memoirs!