HowlRound Theatre Commons: Some might argue that a certain revival can do a play “injustice.” However, when it is a matter of an outdated script, how can “justice” play a part in a revival? How can a musical revival set in the past “make today worth remembering?”
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This production is a great example of how a script can be adapted to fit the modern day, as well as give another meaning to the piece. I find the fact that this production has several portions in ASL only or spoke English as well as a blend of both. The use of language in this production is put under the microscope. Something that is incredibly intriguing because when translating a work, there must be a good understanding of the piece to begin with.
Another portion of the article that piqued my interest is the quote “What is the sound of music to those who cannot sense it in the traditional sense?”. This poses the question of if musicals need to be evaluated so heavily on vocals. Fundamentally, a show’s intent tends to gravitate towards the visceral feelings you get from it. So if the piece is strong enough/stronger for its concentration on its elements of ASL, I think it shows that the rules for musicals have even more bend than we thought before.
It is always wonderful to see more inclusivity in theatre. There are often conversations regarding other types of inclusivity like race, sexual orientation, religious, gender and gender non-conforming, and the topic of physical disabilities is beginning to finally be discusses. Ali Stroker being cast in Oklahoma on Broadway was a huge step forward, but there are other disabilities that are not as easily seen. This production seems to be doing an excellent job of opening this show up to people who otherwise would not be able to enjoy the show, as well as allowing people to see folks who speak the same language as themselves onstage. The best part about it is that it appeals to deaf people and hearing people alike, so it shows hearing people that they can enjoy and appreciate things that are not just made for them and that things can be made accessible so everyone can enjoy them.
I have written about this topic before in previous semesters newsquiz comments but I think this level of accessibility in theater is so very important. I took a student-led course last year called Sign Language Through Pop Music which really helped me understand the basics of American Sign Language and how it translates into song lyrics so that I could continue my ASL journey. Since then I have been educating myself further on deaf shows and culture in general, especially because one of my new friends, Lindsey, is hard of hearing. She actually cannot hear music at all even with her cochlear implant so signed musicals are something of a rarity for her. I would personally love to become fluent in ASL so that I can provide such necessities to those who need it. Although Music Man is not a show I particularly enjoy, the fact that it provides a convenience for those who otherwise do not have access makes me feel slightly better about the company putting it on.
This one is a long article but a great read. Adaptations and revivals are always tricky, but this production of The Music Man sounds absolutely amazing! A decent chunk of this article breaks down the argument of whether the production done at Olney Theater Center in Maryland was actually a translation, not just an adaptation because of the integration of American Sign Language. The accessibility of this production seems amazing, and from what I can understand, it was a conscious effort by the entire team and cast to integrate the bilingual aspect of the show. I think theater is desperately in need of more teams thinking beyond what historically has been done: theater can be so much more than that, and this production proves it. Theater can be designed to be enjoyable and impactful for every person. I really hope we see and make more of this as more productions happen.
I'll be honest, I clicked on this article because I thought it would focus on some technological innovation concerning deafness and performance... I guess I wasn't far off. What Olney Theatre did with The Music man is fascinating to me, in multiple ways. To begin, the way that the theatre began to even look at the production stood out to me, making a modern take on a celebrated musical. Using its nostalgia "as a vehicle for accessibility" seems to be a practical way put to use a generally negative element. Of course, the translation or adaptation arguments held my interest, too - immediately, I would believe that the play was just a translation, but the article pushes me to believe that it's more of an adaptation than anything, though it may be a mixture of both. It's nice to see that there are people working to make theatre accessible to everyone, and I hope that it grows and expands in the future.
I will take literally any opportunity to talk about the Deaf West revival of Spring Awakening so here I am. Sandra Mae Frank, one of the directors for this Music Man adaptation, starred in the Deaf West adaptation of Spring Awakening. Translating and adapting, as discussed in this article brings so much life to old stories. In Spring Awakening, I particularly loved how the original story left a perfect opportunity to comment on the practice of forced assimilation of deaf students by banning the use of ASL in class. The added richness in so many moments was mesmerizing, not to mention how incredibly beautiful the choreography integrated ASL. I will never get over the fact that best choreo went to Hamilton that year. In the past, I've definitely heard that these adaptations still feel catered towards the hearing. I sincerely hope to see more adaptations in the future, but I hope that deaf theater makers get to tell stories the way they want to tell them. I'd genuinely be more than happy to see a show catered entirely towards the deaf make it to Broadway.
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