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HIOHSCHOOL FLASHBACK
! National Theater of the Deaf
breaks sound barrier challengt
CHESTER, Conn. (AP) — The greatest challenge “A lot of acting training is being able to hear the Tomasetti has bachelor’s degrees fromC
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for most live theater companies is getting people to
come and see productions.
For the National Theater of the Deaf (NTD), pa
trons must also get past the troupe’s name.
“We are actors who happen to be deaf. That’s all,”
said Bernard Bragg, a founding member of the com
pany. “Many of us feel the same way: that deafness
is a way of life, that we are a people having our own
language and our own culture.”
Unlike most theaters, where the words are spoken
by the actors and heard by the audience, the experi
ence of language during NTD productions is both au
ral and visual.
Watching the actors with this theater is like get
ting a “double experience.” said Maggie Wagner, a
movie actress from New York teaching classes at
NTD this semester. “The communication is just as
full, if not fuller, than watching regular hearing the
ater,” she said, “because you're receiving information
in two parts.”
It is the first time Wagner has worked with deaf
actors.
Their lines, delivered in American Sign Language,
are interpreted by hearing actors for members of
mostly hearing audiences.
The sign language used in NTD productions is an
emotional form of communication. Wagner said.
“It’s very balletic. It’s different when they're on
^tage than it is when they’re speaking offstage,” she
! said. “It’s very lyrical, very flowing, dance-like and
not as conversational.”
Wagner, a professional actress, assumed it would
be difficult to communicate certain acting concepts
to the deaf actors. Not so, she found.
way someone said something to you," she said. “But
the nuances of language are just as profound in deaf
actors as they are in hearing actors.”
The National Theater of the Deaf and its sub
sidiary, the Little Theater of the Deaf are based in
“It's very balletic. It's
different when they're
on stage than it is when
they're speaking off
stage. It's very lyrical. ..."
— Maggie Wagner
Teacher for the National Theater of the Deaf
Chester, Conn. They take their productions, staffed
with professionally trained actors, both hearing and
deaf, to theaters across the country.
“It’s the best when kids connect with this as a vi
sual art form and see the language being expressed
visually,” said Annie Tomasetti. a deaf actor who de
buted with the company in 1997.
The company is finishing two years of children's
shows, workshops and residencies at colleges. At the
same time, it is working with Children of a Lesser
God author Mark MedofTon a new show it will take
on tour next year.
“Children especially love the interaction.”
Tomasetti said. “They learn the signs from us, and see
a story with a moral.”
University in theater and sign communira:j
studied for four years at the National Thet
Deaf, which is also a theater school, before j
with NTD full-time.
Nikki Kilpatrick, a volunteer forthet;|
since its beginnings in 1967, interpreted Ion
signing for a reporter.
“It's a different way of presenting tbeatefe,
Ridberg said. Jv B
"It gives an added visual dimensiontkM;
theater doesn’t have,” she said.
Ridberg. in her second year with thecomprK
degrees in women’s studies and deaf culture.!®
and Reggie Meneses interpret for the audies®
the actors are signing on stage.
“When an adult sees a show with sign .A
done in a beautiful way,” Ridberg said, "lb'If,
that American Sign Language is an ability;:.!,
have that they don’t."
The theater also offers a SummertimeStoiy®
program on the green in Chester. Thecorapa:®
sors high school drama students andateadi®
four-week summer program.
Other theaters performing in AmericanSkR
guage include the New York Deaf Theater, fcM
Youth Drama Program in Seattle, Clevekp
Stage and Deaf West, a Los Angeles company ®
ed by some of the original members of NTD. ||
The spring performance schedule takesM||
tors from Connecticut to Massachusetts, Veim
New York. North Carolina and Maryland.Ik:®
T heater of the Deaf w ill perform its Shake®
show, “Villains and Clowns,” at the Kennedy®
in Washington, D C., on June 2.
Christie’s East auction to sell memorabilia
from classic Hollywood, television production
NEW YORK (AP) — If you
want to own a pair of ruby red
slippers from the The Wizard of
Oz, don’t bother clicking your
heels together—just plunk down
a lot of cash.
A pristine pair of size 6B ruby
slippers made for Judy Garland in
The Wizard of Oz be auc
tioned off at a Christie’s East sale
of Hollywood and television memorabilia, auction
house officials said. Collectors estimate the pair could
sell for $750,000.
REEVE
Also included in the May 24 auction are the Cow
ardly Lion's Oz costume, a Rolls Royce from the
James Bond classic Goldfinger and Christopher
Reeve's Superman capes and body stockings.
The Lion getup, worn by Bert Lahr in the 1939
family classic, could fetch $600,000, collectors said.
The Roll Royce, a 12-cylinder, dual-ignition 1937
Phantom 111, probably could be driven home for
about $200,000.
Costumes worn by Reeve in 1978's Superman and
the 1980 follow-up. Superman //, are expected to sell
for about $40,000 each.
Television memorabilia up for sale include the
black wool yachting cap worn by Alan
Skipper, in “Gilligan's Island”(estimateSlO.lj
a cigarette lighter inscribed with a love notetluj
cille Ball gave to Desi Arnaz (SI.000).
Christie's declined to place official sales
on the Oz treasures.
“Props from that period are very rae."
pop art specialist Sarah Hodgson told iv-
('hristie’s sold a pair of the Oz slipptf
$ 150,000, then a record.
They were among seven or eight pan;
Garland while filming the 1939 MGMcIa® !
Wizard of Oz.
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