Opening Scene: the Minstrels are in town!

Kent State University—Trumbull received financial support to stage a special production of Snow White and the Seven Dwarves (a.k.a. Deaf Snow White), written by Iosif Schneiderman, Aaron Weir, and William Morgan. The play is an experimental theatre piece that blends gesture, pantomime, American Sign Language, and spoken English to retell the classic fairy tale from a Deaf culture perspective. Schneiderman worked with a group of actors and designers from both the campus and the surrounding community. In addition to the regularly scheduled rehearsals, Schneiderman also offered two workshops on the art of visual communication, open and free of cost to both the cast and the general community (except for those requesting special certification).

“Beautiful,” signs Iosif Schneiderman (Director) as Verne Taylor, Jr. (Assistant Director) looks on.

Iosif Schneiderman has a lifetime of professional experience in working in Deaf theatre. Having won first prize in Moscow’s Festival of Mime, he was invited to join Moscow’s Theatre of Expression and Gesture, where he performed for twenty-eight years. In 1973, he was recognized for his performance at the World Festival of Mime in Czechoslovakia, and in 1989, he performed at the Deaf Way Festival in Washington. Schneiderman was invited by David Hays, founding director of the National Theater of the Deaf, to join his renowned company, where he appeared in such productions as Treasure Island, Curiouser and Curiouser, and One More Spring, which was shown on Public Television. Schneiderman created and directed Goya, which was presented at Gallaudet University and featured as the grand opening performance for Deaf Way II. In 2003, he played five different roles in DeafWest’s acclaimed production of Big River, the musical version of Huck Finn. This production was seen on Broadway, nominated for a Tony Award, and subsequently toured throughout the United States.

Schneiderman adapted Snow White (with William Morgan and Aaron Weir) so that the story is seen from a Deaf perspective. Snow White, for example, is Deaf in the play, and she finds her counterpart in the Prince who awakens her from her sleep. Through directing the play, Schneiderman shared his expertise in the theatre of gesture and mime with local performers, thus giving them an exceptional opportunity to improve their skills in physical-visual communication. Moreover, the entire production gave audiences the chance to reflect on issues related to identity and deafness.

Visual Gesture Communication (VGC) Workshops

The Evil Queen (Bobbie Jo Killing) brews one of her poisons as her Hearing Maid (Tiffany Mulloy) and Deaf Servant (Pam Beish) look on in horror.

Iosif Scheiderman and Verne Taylor, Jr. held a four-part workshop over the course of two consecutive Saturdays on November 9 and 16. All cast members were required to attend the workshops. All four workshops were well attended by both hearing and Deaf individuals: students, community members, and members of the cast. Each part lasted two hours, with everyone gathering together for lunch between the morning and afternoon sessions. The focus of all four workshops was upon the development of visual communication skills, universal communication through VGC, use of hands for self-expression, and a greater understanding of American Sign Language classifiers, particularly as they relate to general visual gestures. Certificates were awarded: full attendance, partial attendance, and attendance for CPU (which was provided by Sign Language Resources and Education Center, LM Global Enterprises, LLC). Clearly, gesturing and signing posed a major challenge for several of the actors, who were hampered with their arms heavily cloaked, with their faces heavily covered in make-up, and even with highly constrictive mask, and the workshops greatly helped to address these obstacles.

Snow White & Six of the Seven Dwarves (left-to-right): Lexa Miller (Snow White), Jaycob Whitmore (Sunday), Maggie Bork (Saturday), Brooke Earl (Friday), Katrina Bachman (Thursday), Miranda Bachman (Wednesday), and Makennah Earl (Tuesday).

Challenges

Maggie Bork, who played the dwarf, Saturday, displaying her special notebook.

A central challenge appeared in the form of communication and cultural conflicts, on all sorts of levels and in various directions. Iosif Schneiderman is a Deaf Russian whose native languages are Russian Sign Language and Russian spoken language; all his life, he has worked as a professional performer. Kent Trumbull Theatre is a community theatre (merging campus and community) with an agenda that emphasizes personal and community growth (over professional achievements). Verne Taylor, Jr. worked to serve as mediator between Schneiderman and the rest of the cast/crew, all of whom were American (native Ohioans) and most of whom were hearing and unfamiliar with either Deaf or Russian cultures. Often, for example, Taylor had to help interpret Schneiderman’s broken ASL for the sign language interpreters. In other words, the process of communication between Schneiderman was from Russian/American sign language to American Sign Language to spoken English. While everyone worked hard to understand each other, certain Russian gestures and/or Deaf culture facial expressions were ultimately misinterpreted, offending cast and crew. At the same time, Schneiderman’s leadership was often chaotic, and self-contradictory (some would call this “old-school” directing). In short, much of the clash seemed rooted in a battle of theatrical practices (the goals of professional perfectionism vs. those of community/educational growth), and they became reduced to a more personal fight between men and women, rather than one between Deaf and hearing.  However, the children in the cast loved working with Schneiderman.

Review by Andy Gray for the Tribune Chronicle. (Click on the link to enlarge.)

In other words, this chaos seemed to affect the adults significantly more than the children, who were generally enthusiastic about the production, right to the very end. Both Scheiderman and Taylor, indeed, seemed to have a gift for working with children. There were neither behavioral nor disciplinary issues, for example. For another example, the children frequently seemed both in awe of and inspired by the directing team, and many were motivated to learn a great deal of American Sign Language, both for use on-stage and off-stage. For the children, there was much silliness and laughter—theatrical play and moments of exploratory visual expression that resulted in subtle developments of greater communication and acting skills.

The youngest member of the cast, Jaycob Whitmore, who played the dwarf known as Sunday, proudly displaying his nose and beard.

This enthusiasm among the children seemed to inspire the adults (cast and crew) to work harder, to overcome personal conflicts (or at least tolerate cultural differences, even when they seemed abusive). Ultimately, the bottom line became clearly drawn: everyone wanted to be remembered for a positive performance experience. Everyone wanted the show to go well. The adults worked through the sexism, audism, and turf-battles to make the show happen. The children, mostly unaware of the adult conflicts, worked hard to learn their lines and to express them well, be they in spoken English and/or American Sign Language. In other words, despite the personal and professional challenges that typify cross-cultural conflicts (including issues of miscommunication and/or misunderstanding), everyone worked hard to work together and in so doing, learned a great deal about each other and about themselves.

Make-up artist Kerri Rickard is working a mask onto Victoria Kaczmarek (Peddler Woman).

Cast 

Victoria Kaczmarek as the Evil Queen transformed into a Peddler Woman.

Katrina Bachman (Thursday)
Miranda Bachman (Good Queen/Wednesday/Voice of Snow White in castle)
Darren Ball (Townsperson)
Pam Beish (Deaf Servant)
Maggie Bork (Saturday)
Kurt Cullison (Deaf Prince)
Brooke Earl (Friday)
Makennah Earl (Tuesday)
Christine Fowler (Interpreter for the Queen)
Shane Glaeser (Huntsman)
Alex Jones (Minstrel Leader/Voice of Prince)
Victoria Kaczmarek (Peddler Woman/Voice of Mirror)
Bobbie Jo Killing (Evil Queen)
Lexa Miller (Snow White)
Tiffany Mulloy (Hearing Maid/Voice of Snow White in forest)
Aiden Scott (Townsperson)
Michael Smithberger (Monday/King/Voice of Thursday)
Melanie Spurk (Mirror/Voice of Deaf Peddler)
Lacey Tolla (Old Woman)
Jaycob Whitmore (Sunday)

Snow White (Lexa Miller) with the Huntsman (Shane Glaeser).

Production Team

Costume Design/Costumer/Asst. Stage Manager Eileen Janis-Larson fitting Jaycob Whitmore with his costume.

Director: Iosif Schneiderman
Assist. Director & Sign Master: Verne Taylor, Jr.
Scenic Design/Tech Director: Tony E. Kovacic
Stage Manager: Tina Janis
Costumes & Assist. Stage Mgr.: Eileen Janis-Larson
Choreographer: Dana Warren-Tolios
Assistant Choreographer: Darian Brogden
Make-up Design: Kerri Rickard
Lighting Design: Leslie Brown
Sound Design & Deaf Culture Facilitator: Bill Morgan
Props: Kathi Kovacic
Sound Board Operator: Angell Lipps
Light Board: Ali Ozimek
Back Stage Crew: Daniel Brown
Rehearsal Interpreters: Christine Fowler & Tiffany Mulloy
Artwork: Dave Ruple
Office Manager: Brandy Mayoras
Coordinator of Theatre: Daniel-Raymond Nadon
Fundraising: Gary Ciuba, Carol Robinson, & Linda Mahmood

Funding and Support

Kent Trumbull Theatre
Kent State University at Trumbull Diversity in Action Council
Kent State University at Trumbull ASL Club
Kent State University Division of Diversity, Equity and Inclusion
Kent State University Department of English
Community Foundation of Mahoning Valley
Triple T Foundation
Hine Memorial Fund (Youngstown Foundation)
Hands United We Stand

Pamela Beish (Deaf Servant), Kurt Cullison (Deaf Prince) laughing with Beish’s son, Aiden Scott (Townsperson).

Written by Ammauri Peters & James Caverly

with help from members of Deaf Theatre of Ohio (João Ciuba Dos Santos, Kurt Cullison, Carol Robinson, Pamela Beish, Lauren Lemley, Mark Myers, Farah Kish-Leland)

Production Trailers

Production Dates: Oct. 18 & 19 (7:30pm), Oct. 20 (3:00pm) Oct. 25 & 26 (7:30pm), Oct. 27 (3:00pm) 2019

James “Joey” Caverly

JAMES CAVERLY Kent State University Trumbull Guest Artist

Credentials

Director The McWilliamses (National Theatre of the Deaf), Every Brilliant Thing (New York Deaf Theatre), Romeo and Juliet (Community College of Baltimore County in Catonsville), Tribes (assistant; Kitchen Theatre Company), Doctor Faustus (Gallaudet University),  Cloud 9 (assistant; Gallaudet University).

Actor Broadway: Children of a Lesser God (U/S Orin). Regional Theatre: Tribes (Kitchen Theatre Company, Berkeley Repertory Theatre, Studio Theatre, Speakeasy Stage Company), Company member of Dog & Pony DC (Beertown, Squares), Company member of The National Theatre of the Deaf (Journey of Identity, A Child’s Christmas in Wales, W-5: Stories Behind). Film/Television Acting: Chicago Med (NBC; Wolf Films), Red Line (Paludnevicius Visuals). His short play, Civil Engagement has premiered at Deaf Spotlight in Seattle. He was a nominee for the Helen Hayes Award (D.C.) and Elliot Norton Award (Boston). B.A in Theatre Arts from Gallaudet University. Director’s Notes When a topic comes up around Deaf education, it’s no secret that there is a division of opinions. There are various ways of education for the Deaf and Hard of Hearing students–no one system is flawless and the degree of hearing loss and speaking ability vary from child to child. The animosity of opinions can be traced far back as 1880, where our play’s story is set. On one side, we have Alexander Graham Bell, widely known as the inventor of the telephone, who is a campaigner of the oral method, an approach where Deaf children are taught how to speak and/or lip-read. On the other, we have Edward Miner Gallaudet, a teacher of the Deaf and is an advocate of teaching sign language, “the natural language of the Deaf”. Their methods are still being used today and the bad blood between them still remains. The one factor that ensures a Deaf child’s growth is the strength of the community’s support. Regardless of education, if the child has a language and a foothold in the foundation of their community, they can prosper. Community, to me, is the strongest component because of what I’ve experienced during my time at the Trumbull campus of KSU. This play has been devised by members of the Deaf community and performed by Deaf and hearing members of the community with support from the KSU community. The backbone of this play has been formed by this unique family–without them, this play wouldn’t stand on its own two feet. If you’re not a member of the Deaf community, it’s understandably difficult to relate to the experiences of Deaf education which is why the writers have drawn inspirations from Beauty and The Beast. The theme of seeing one’s “inner beauty” is parallel to what our play’s main characters, Bella and Dennis, are examining as the story unfolds. Using the themes of “Deaf education”,  “community”, and “Beauty and The Beast” I present to you a play of discovering what it truly means to be a Deaf person. —James Caverly

Mr. Caverly would like to thank his friends and family for all the drama in his life.

Our First Residential Guest Artist

Caverly encouraging eager actors in one of the several workshops offered at Kent State University Trumbull (March, 2019 & August-October, 2019).

It has taken over three years to bring this project into production, and a lot of hard work was done by inexperienced writers and actors. Bringing James “Joey” Caverly to our off-off-off-off-off-off-off-off-[okay, you get the idea]-Broadway community theatre production has meant bringing a unique opportunity for members of both local professional, educational, and community theatre to experience true Deaf theatre: a play written by Deaf people in the traditions of Deaf drama and poetics, featuring Deaf members of the community, and directed by a Deaf theatre professional. Mr. Caverly put his full commitment, his passion, and his extraordinary talents into this production right from the start. You should know that most of the actors (Deaf and hearing) have had very little (if any) stage experience, and while several have been involved in ASL/English productions before (at this very theatre, actually), this particular production is the most original, the most authentic to Deaf theatre ever done here. I am very grateful to Willy Conley for recommending Joey Caverly to serve as our first Guest Artist here at Kent State University Trumbull, and I am extremely honored to have had the opportunity to work with such a creative and energetic theatre professional. Thank you, Joey! —Carol L. Robinson, Ph.D. (Kent State University Trumbull)

Cast of Characters

Dennis…………………………………………………………Shane Glaeser Bella………………………………………………………….Ammauri Peters Gastron…………………………………………………..Judas Glassmeyer Alexander Graham Bell……………………………………Robert Ellway Edward Minor Gallaudet……………………………………Kurt Cullison Witch……………………………………………………….Courtney Baumer See No Evil………………………………………João Ciuba Dos Santos Hear No Evil…………………………………………………..Ariel Simones Speak No Evil……………………………………………….Jeremy Strong Mime Parent……………………………………………….Becky Robinson Mime Parent……………………………………………………Nicholas Lilly Mime Parent……………………………………………Judas Glassmeyer Mime Parent…………………………………………………….Delaney Fox Judge…………………………………………………………..Samantha Cox Teacher #1…………………………………………………Becky Robinson Teacher #2……………………………………………………..Nicholas Lilly Teacher #3…………………………………………………..Samantha Cox Dennis’ Mother……………………………………………Becky Robinson Trinity’s Parent………………………………………………..Nicholas Lilly Bella’s Students Logan…………………………………………………………..Jeremy Strong Mae………………………………………………………………Ariel Simones John………………………………………………..João Ciuba Dos Santos Dennis’ Students Trinity……………………………………………………………..Kisha Leland Tom………………………………………………………………..Kurt Cullison Amelia…………………………………………………………….Delaney Fox General Ensemble (Congress, ASL Ghosts, Voiceover Ghosts, etc.)

Acknowledgements

The Cast, Crew, and Staff Kent Trumbull Theatre would like to extend thanks to the following organizations and individuals for their help and support throughout the production process. Organizations: Community Foundation of the Mahoning Valley, Youngstown Playhouse, Coling Dragon Chinese Kung Fu Studio, Youngstown Hearing and Speech/Easter Seals, Hounding Productions, Kent State University College of Education, Health, and Human Services—School of Health Services, and Kent State University Trumbull Diversity in Action Council Individuals: Lydia Brown-Payton, Barb and Scott Ancell, Beverly and Larry Warfel, Interim Dean Daniel Palmer, Interium Assistant Dean Josna Neuman, Elaine Petrosky, Dawn Cook, Ken McElravy, Dave Smith, Bill Burgess, Brenda Augusta, Teddy Humberger, Robin Kuzenko, Donna Rood, Sean Melnik, Chris Popadak, Bob Rhine, Gary Bateman, Frank Lindsay, Benjamin Darby, the Switchboard Staff, the Maintenance Staff, the Security Staff, Larry Shlachter, Benjamin Tipton, Richard Costes, Dr. Peter Byrne, Dr. Laurie Hines, Dr. Nathan Ritchey, Dr. Alfreda Brown, Dr. Lance Grahn, Dr. Scott Randby

REVIEW: “Different worlds intersect in Kent-Trumbull production”
by Andy Gray
Tribune Chronicle

A Brief History
The year was 2009 . . .

This project was an exciting venture between both campus and community, as well as between hearing and Deaf worlds: accessible to both Deaf and hearing audiences through a mixture of ASL, spoken English, gesture and mime. The play is a contemporary written English adaptation of the medieval (late Middle English) British medieval morality play, Everyman. While Conley’s For Every Man, Woman and Child is inspired by the Christian medieval English morality play, Everyman, it is clearly set in contemporary times, and pays respect to several religions in addition to Christianity, including Hinduism, Islam, Buddhism, and Sun Worship. This is a play that addresses the very foundation of issues in celebrating diverse populations.

Willy Conley explaining to several theatre enthusiasts how he got the idea to adapt a medieval morality play into a contemporary ASL/Spoken English experience.

 

 

 

 

 

 

The play calls for a “carnival atmosphere”. We intended to give the performance a “Cirque du Soleil” carnival style (costumes and setting). There also was a festive pre-production atmosphere in the theatre lobby that included popcorn and other concessions, jugglers, clowns, and other circus-type performers wandering around the area. At the Opening Night Performance (September 25), we added a table at which playwright Willy Conley sat, offering to autograph copies of his recently published anthology of plays, Vignettes of the Deaf Character and Other Plays (Gallaudet University Press, 2009).

Producers’ Notes

THE CAST — BACK ROW: Christine Fowler, Kurt Cullison, Thomas Young, Jenna Cintavey, Pamela Young Beish, Haley Jane Otto, Christiana Ozimek , Daniel Parsons; MIDDLE ROW: Tiffany Mulloy, Rhianna Squires, Joe Toto, Kate Starling, Dorothy Voyda; FRONT ROW: Cleric Ricard Costes, Curtis Showers, Victoria Van Horn, João Ciuba, Kayla Donaldson

Cleric Richard Costes experimenting with make-up with Dr. Daniel-Raymond Nadon (Director)

This project allowed us as a cast, crew, and directing team to explore a number of crossroads between a number of otherwise dissimilar cultures and theatrical styles.  The play meets at the intersections of contemporary American theatre and medieval British theatre, of traditional theatre forms and those of National Theatre of the Deaf, of an onsite production and a tour (we are taking the show on the road), of town and gown, of Deaf/deaf and hearing cultures, of male and female, of Christian in relation to other faiths, and of education through entertainment.  The important journey of the characters, Everyone (male and female), into uncharted territory is matched by the incredible journey of our actors, designers, directing team, and crew–brave soldiers all.  I am proud of the amazing team we have assembled and of the hard work we have achieved together, in this intersection.
~~Daniel-Raymond Nadon, Stage Director

Professor Nancy M. Resh (She suddenly died a year after this production in November, 2010.)

I believe Willy Conley wanted everyone (not just Everyone) to see how important it is that we all communicate with each other and communicate successfully. As Sign Master for this play, I had the unique opportunity to observe this wide range of hearing, deaf, signing, and speaking actors. What was most impressive was that they all made the effort to overcome the nearly impossible communication barriers. I cannot begin to tell you how I feel working with this wonderful group: watching their conversations (ASL, English, or something in between) and the other ways they socialized and practiced with each other. Their taking the time and effort to better understand a language and culture other than their own made this play experience a success, even before opening night.
~~Nancy M. Resh, Sign Master

Carol Robinson (left) helping Kate Starling (right) to learn some American Sign Language.

A medieval morality play is supposed to teach the lessons of Christian “right” conduct. Willy Conley’s adaptation of (perhaps) the most famous of British morality plays, Everyman, also attempts to teach “right” conduct. While this modern morality play still holds much of the Christian ethos of the original work, it also brings in much contemporary pathos (such as a passionate plea for self-reflection) and logos (such as a reasoning for tolerant behavior). For me, the irony has been that, in producing this play, we have had to learn to practice what the play preaches. Observing and trying to help the actors struggle through communication barriers, through performance breakdowns and breakthroughs, through tears of frustrating self-disappointment, through tears of joyful self-discovery: it has been both a torment and a pleasure. (Isn’t it funny how those two feelings often come hand-in-hand?) I am both honored and proud to have worked with this troupe. We are everyone, all of us.
~~Carol L. Robinson, Dramaturg

Nancy M. Resh, Willy Conley, Carol L. Robinson, Daniel-Raymond Nadon

The performances were held at the Kent Trumbull Theatre (September 25, 26, & 27–at the end of Deaf Awareness Week–and October 3, 4, & 5). On Saturday, September 26, at the end of Deaf Awareness Week, there was a Fundraiser Performance that featured an audience-invited Forum (involving Ohio Deaf Leaders), held after show. Performances ran for two weekends, and then the troop traveled to Loudonville, New York (just north of Albany) to perform at the 24th International Conference on Medievalism at Siena College on October 9, 2009.

Performance at the International Conference on Medievalism (Siena College)

Who is Willy Conley?

Willy Conley explaining Deaf theatre and his play to Kent State University at Trumbull students, faculty and community.

A professional actor, director, sign master, and playwright, Conley has won awards from VSA arts 2000 Playwrights Discovery Competition at the Kennedy Center, the PEW/TCG National Theatre Artist Residency Fellowship, the Sam Edwards Deaf Playwrights Competition, The American Deaf Drama Festival, the Baltimore Playwrights Festival, the ’97 and ’99 NeWorks Festival in Boston, the Laurent Clerc Cultural Fund, and the Lamia Ink! International One-Page-Play Festival. Published plays include “The Hearing Test” (in No Walls of Stone, Gallaudet University Press), Broken Spokes (Tactile Mind Press), The water falls. (Tactile Mind Press), The Universal Drum (TYA/USA Theatre for Young Audiences Today), and a collection of his plays has just been published: Vignettes of the Deaf Character: And Other Plays (Gallaudet University Press). As an actor, Conley has performed with the National Theatre of the Deaf, Pilobolus Dance Theatre, Amaryllis Theatre Co, Colonial Theatre, Shakespeare-in-the-Park in Rhode Island, Fairmount Theatre of the Deaf, New York Deaf Theatre, Quest: Arts for Everyone, Sunshine Too, and Center Stage. Recently, he appeared in an episode of NBC’s Law & Order: CI ‘Silencer’; other films include: Wrong Game and Stille Liebe (Secret Love). He holds an M.A. in Creative Writing/Playwriting from Boston University (where he studied with Nobel laureate Derek Walcott), and an M.F.A. in Theatre from Towson University. He is an Associate Artist with Center Stage, an Affiliate Artist with Quest, and an Associate member of The Dramatists Guild. In addition, most people do not know that he was the first Deaf person to receive national certification as a Registered Biological Photographer (#319) after having graduated from the Rochester Institute of Technology with a B.S. in Biomedical Photographic Communication.

The SLACKERS are in town!

CAST

Old man Death is receiving orders from the gods to go get EVERYONE.

PRODUCTION TEAM

Allegorical characters Beauty and Strength.

SPONSORS 

We are extremely grateful to the below organizational and individual sponsors whose generosity allows us to bring this very special performance to life!

Kent Trumbull Theatre
KSU Trumbull Diversity in Action Council
KSU Trumbull Student Services
KSU Trumbull Student Disability Services

Individual Contributions:
The Ciuba-Rogan Family
David & Diane Starr
Randby Robinson
Irene Gianakos
Elaine Shively

ORIGINAL PERFORMANCE DATES (2017)
Kent State Trumbull Theatre
December 1 & 2, 8:00pm & December 3, 3:00pm
December 8 & 9, 8:00pm & December 10, 3:00pm

Aiden Scott, Mark Myers, Pamela Beish, Kurt Cullison, Beth Myers, Christine Fowler, Valerie Dalrymple

About this Play and Production

For each scene, the signers are always performing toward downstage and the speakers are always in the “radio station” sides of the stage, (each side of the stage).  Time is being represented by space, mimicking time representation in American Sign Language.  In other words, the stage represents a human body.  Upstage (the far back) represents the past, just as leaning backwards when signing in American Sign Language (ASL) represents the past. Likewise, standing straight in ASL represents current time, and center stage also represents current time.  Finally both downstage and the audience area represent the future, just as leaning forward when signing in ASL represents the future.  Welcome to Def world symbolism!  There is other symbolism as well.  Images projected inside the giant wreath represent Scrooge’s mind: his thoughts, his dreams, his memories, his nightmares.  The boxes of Gizmos represent Scrooge’s guilty conscience.  Most of the action on stage right (the left side, if you are facing the stage from the audience) represents the dream world, the spirit world.  Most of the action on the other side of the stage (near the door and counter) represents the real world, here in 21st-century Northeast Ohio.

Kisha Leland

Charles Dickens’ wonderful novel, A Christmas Carol, is not at all the first Christmas ghost story. For example, another great class is the medieval Sir Gawain and the Green Knight, a story that begins in King Arthur’s court, where he his hosting a Christmas feast, when a green knight enters the hall with the challenge for some brave knight to chop off his head.  While Christmas is a Christian holiday that was created in the Middle Ages, it was a feast intended to replace celebrations associated with the Winter Solstice. It’s a party! Wealthier medieval Christian kings gave out gifts (as they did at most big feasts of the year). The Christmas tree and many other contemporary symbols of Christmas are are taken from older, non-Christian religious systems.  By the way, a carol is a religious folk song or popular hymn, particularly one associated with Christmas; to go caroling is to go singing, particularly Christmas songs. Some songs are beautiful, while others are deeply disturbing, and still others are simple silly fun.  Charles Dickens’ wonderful ghost story is a “song” that is full of British 19th-century values.

Eric Kildow seeking a donation for Kent Trumbull Theatre from Scrooge (Kurt Cullison)

This play is loosely based upon the Charles Dickens’ classic. In fact, many of the characters’ names have been changed, to note just how loose this adaptation truly is. Charles Dickens wrote a wonderful ghost story full of Victorian Christian ethos and humanism. This play, however, is ANOTHER ghost story, ANOTHER Christmas Carol, set in 21st-century United States (Northeast Ohio, even), attempting embrace an ethos that recognizes diversity, equity, and inclusion. It attempts to embrace, for example, the Articles of The Universal Declaration of Human Rights, as developed by founding members of the United Nations.  Ebenezer Scrooge is an Ohioan in 2017, running a store that has been highly successful in selling Gizmos. (We have no idea what Gizmos are, but they have made him very rich.)

This play was a joint Deaf/hearing production. The intended audience was both hearing and Deaf: those who were signing-impaired were able to follow the play through the speakers’ performance and those who were hearing-impaired were able to follow the play through the signers’ performance.  Everyone had a voice, be it signed or spoken. It might be best to think of the speakers as performing something akin to a radio play, while the signers were performing something akin to a dance. Speakers also provided additional sound effects (with their throats and mouths, but also with various types of musical instruments and other tools). Signers also provided additional visual effects (such as with led-gloves and flags or streamers, but also with dance and pantomime).

Notes about Some of the Characters

The Cast and Crew

From the Production Program

Director’s Notes
This show started out as a very small idea: to gather together a few Deaf and hearing individuals and put on a very small, almost informal, performance for the holidays: a group storytelling of sorts.  But then, like Grinch’s heart (yes I know, wrong story), it grew and grew until it became three times its normal size: a full length, original play that includes all sorts of audio-visual expressions.  I especially wish to thank Farah Kish-Leland and Lauren Albaugh for taking the lead  in creating the four gesture songs, for helping the actors to transcribe the script from English to ASL, for their numerous creative ideas and other insightful contributions, and for their wonderful support in this venture. However, we three were not at all the only creators of this show, not at all!  Composed by the cast and directors, in both English and American Sign Language, this show belongs to everyone involved—cast and crew, Deaf and hearing—we all made this Charles Dickens story into something new and different, yet still slightly familiar.  Often, understanding each other was a challenge, but not insurmountable (some of us are signing impaired; some of us are Deaf).  It has been a lot of work, and everyone worked a lot.  This has been an awesome cast and crew, and I am deeply honored to have had this opportunity to learn so much from them.  No matter the end result, this experience has demonstrated just how kind the human heart can be, just how creatively the human mind can flow, and just how high the human spirit can soar.
Carol L. Robinson, Ph.D.
Associate Professor of English

Assistant Director/Sign Master’s Notes
I am very honored and proud to be a part of such a talented group of people.  Our production makes me proud to see hearing and deaf people working together towards the same goal, lending all the best from hearing and deaf cultures.  I can’t say enough about how honored I am that Dr. Carol Robinson asked me to work with her on this project.  She has guided me and taught me a great deal.  This has truly been an enriching experience.
Farah Kish-Leland
American Sign Language Instructor

Assistant Signmaster/Assistant Videographer’s Notes
Being an Assistnt Sign Master has been a wonderful experience.  I have been deeply driven to improve my knowledge in translating English to ASL while looking to gain experience in the theatre and stage.  I was very thrilled to be a part of this production of ANOTHER Christmas Carol.  I have been enjoying it so much.  Additionally, while I was hesitant at first to accept the additional role as a cast member in the performance, due to lack of time, it turned out to be one of the best decisions I have made, a great opportunity to gain experience in using ASL in a theatre setting.  I am deeply honored to have worked with such wonderful people.

Being an Assistant Videographer is helping me to learn something that is possibly related to my future graduate work in education.  It has been a good way to start gaining the experience and building my porfolio.  I am looking forward to playing around with the camera more, in the future.
Lauren Albaugh
American Sign Language Instructor

Poster by Dave Ruple

Special Thanks

KSU at Trumbull Nursing Program
Scott Randby
Dr. Carol Robinson’s Senior Seminar on Deaf Culture students
Vincent Lighting
Kent Trumbull Diversity in Action Council
Hugh A. Glauser School of Music
Dr. Lance Grahn
Dr. Daniel Palmer
Elaine Petrosky
Loralee Barnes
Harry Packard and the Staff of the Gelbke Library
Marion Woofter and Reprographics
Chris Popadak and the Switchboard Staff
Bob Rhine and the Maintenance Staff
Gary Bateman and the Security Staff

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