Pittsburgh’s City Theater Co. Breaks Ground with Fully Integrated ASL Production of “Another Kind of Silence”
pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf artists and utilizing a meticulously crafted “gloss” – a translation that goes beyond word-for-word equivalence to capture the nuance and rhythm of the original text – aims to create a truly seamless experience for both Deaf and hearing audiences.
The play, which opened this month, features a cast delivering both spoken and signed lines, timed to the cadence of the performances. This complex undertaking involved over 5,000 technical cues to ensure synchronization and clarity. According to director Monte Weild, the goal is for the technical aspects to disappear, allowing all audience members to fully engage with the story.”If we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show,” Weild said.
This production marks a meaningful step toward greater inclusivity in American theatre. Creating a fully integrated ASL performance requires substantial investment in resources, including the commissioning of a detailed gloss. Though, Weild, a Sibling of a Deaf Adult (SODA) with extensive experience in bilingual productions, emphasizes the necessity of such efforts. “If we really want to have an American theatre that reflects who we say we are,” Weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
playwright and performer, Jonathan Feldman, reflected on the production’s core message, referencing a line from the play: “May you find yourselves in it.” feldman expressed a desire to create a production where every audience member feels seen and represented, continually questioning whether the work achieves that goal.
City Theatre’s production serves as a model for future inclusive theatre endeavors, with the created gloss becoming a valuable resource for subsequent casts and productions. The project was supported by a Critical Insight fellowship, a partnership between American Theatre magazine and Pittsburgh Public Theatre, designed to foster theatre criticism and expand access to diverse perspectives.
Pittsburgh’s City Theatre Co. Breaks Ground with Innovative Bilingual Production of ‘Another Kind of Silence’
Pittsburgh, PA - City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “another Kind of Silence,” a play simultaneously performed in spoken English and American Sign language (ASL). The production, a collaboration with Deaf and hearing artists, utilizes a meticulously crafted “gloss” – a translation that goes beyond simple word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and his relationship with his Deaf daughter. What sets this production apart is its commitment to a fully integrated bilingual experience, with spoken and signed lines timed to the cadence of the performances onstage. Technical director, Liz Weild, estimates the production involves ”over 5,000 cues” to ensure a seamless experience for all audience members, irrespective of hearing ability.
This enterprising undertaking reflects a growing movement within American theatre to prioritize accessibility and depiction. According to Weild, a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions, commissioning a gloss - while time- and capital-intensive - is essential for creating truly inclusive work. ”if we really want to have an American theatre that reflects who we say we are,” she stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Jonathan Feldman hopes the production fosters a sense of connection for all viewers.He reflects on a key line in the play, “May you find yourselves in it,” questioning whether the production successfully creates a space where “every person who’s watching it feels like that?”
The production is part of a larger initiative, including a Critical Insight fellowship between American Theatre magazine and Pittsburgh Public Theater, aimed at fostering more informed and inclusive theatre criticism.
Pittsburgh’s City Theatre Co. Breaks Ground with Fully Integrated ASL Production of “Another Kind of Silence”
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American sign Language (ASL). The production, a collaboration with Deaf artists and utilizing a meticulously crafted “gloss” – a translation that goes beyond word-for-word equivalence to capture the nuance and rhythm of the original text – aims to create a truly seamless experience for both Deaf and hearing audiences.
The play,which opened this month,features a cast delivering both spoken and signed lines,timed to the cadence of the performances. This complex undertaking involved over 5,000 technical cues to ensure synchronization and clarity. According to director Monte Weild, the goal is for the technical aspects to disappear, allowing all audience members to fully engage with the story. “If we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show,” Weild said.
This production marks a significant step toward greater inclusivity in American theatre. Creating a fully integrated ASL performance requires substantial investment in resources, including the commissioning of a detailed gloss. Weild, a SODA (sibling of a Deaf adult) with extensive experience in bilingual productions, emphasizes the necessity of such efforts. “if we really want to have an American theatre that reflects who we say we are,” Weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright and performer, Jonathan Feldman, reflects on the production’s core intention: to create a space where all audience members can see themselves reflected in the work. He frequently returns to a line from the play, spoken by the character Peter: “May you find yourselves in it.” Feldman asks, “Have we built a play…where people can find themselves in it? Is there more we can do so that every person who’s watching it feels like that?”
the production serves as a model for future inclusive theatre endeavors, with the created gloss available as a resource for other companies. The project was supported by a Critical Insight fellowship, a partnership between American Theatre magazine and Pittsburgh Public Theater, which provided journalist Emma Diehl the possibility to cover the production.
Pittsburgh’s City Theatre co.breaks Ground with Innovative Bilingual Production of ‘Another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production,a collaboration with Deaf and hearing artists,utilizes a meticulously crafted “gloss” – a translation that goes beyond literal word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and features a cast including Anil Margsahayam, Monique ”MoMo” Holt, Amelia Hensley, Hope Anthony, and Thomas Dellamonica. What sets this production apart is its commitment to a fully integrated experience, with spoken and signed lines timed to the cadence of the performances onstage, and over 5,000 technical cues ensuring a seamless presentation for both Deaf and hearing audiences.
This ambitious undertaking reflects a growing movement within American theatre to prioritize accessibility and representation. According to City theatre’s artistic director, Jeremy B. Cohen,and director,Natalie Fey,the production aims to create a space where all audience members can fully engage with the story. The creation of the gloss, a resource for future casts, was a significant investment, but one deemed essential by Weild, a SODA (sibling of a Deaf adult) with extensive experience in bilingual productions.
“If we really want to have an american theatre that reflects who we say we are,” Weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright, brenda Feldman, echoed this sentiment, reflecting on a key line from the play – “May you find yourselves in it.” She questioned whether the production successfully creates a space where all audience members feel seen and represented, emphasizing the ongoing commitment to inclusivity.
The production is part of a larger initiative, including a Critical Insight fellowship between American Theatre and pittsburgh Public Theater, designed to foster more informed and inclusive theatre criticism.
“Another Kind of Silence” runs through april 28th at City Theatre Company.
Pittsburgh’s City Theatre Co.Breaks Ground with Innovative Bilingual Production of ‘another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of Silence,” a play performed simultaneously in spoken english and American Sign Language (ASL). The production, a collaboration with Deaf and hearing artists, utilizes a meticulously crafted “gloss” – a translation that goes beyond literal word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and features a cast of both Deaf and hearing actors. Director Monteze Freeland and playwright karina Cochran worked with Deaf consultant Becca Schwartz to ensure authentic representation and accessibility. The production boasts over 5,000 technical cues designed to seamlessly integrate the two languages, with spoken and signed lines timed to the cadence of the performances.
“We’re close to over 5,000 cues,” said director Reginald D. Weild.”It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, deaf or hearing, will receive the show.”
The creation of the gloss, a resource for future casts, was a significant undertaking. While time- and capital-intensive, commissioning such a translation is considered essential for truly inclusive productions, notably as the American theatre industry strives for broader representation. Weild, a Sibling of a Deaf Adult (SODA) with extensive experience in bilingual productions, emphasized the importance of considering all artists, cultures, and languages.
Playwright Karina Cochran’s work explores themes of connection and isolation, culminating in a poignant moment where the character Peter states, “May you find yourselves in it.” This line resonated deeply with Freeland, who reflected on the production’s ultimate goal: “Have we built a play, and have I written a play, and have we created a production, where people can find themselves in it? Is there more we can do so that every person who’s watching it feels like that?”
the production is part of a larger initiative, including a Critical Insight fellowship between American Theatre magazine and Pittsburgh Public Theater, aimed at fostering more robust theatre criticism and expanding access to diverse perspectives.
Pittsburgh’s City Theatre Co.Breaks Ground with Innovative Bilingual Production of ‘Another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of ”Another Kind of Silence,” a play simultaneously performed in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf and hearing artists, features a meticulously crafted “gloss”-a translation of the script into ASL that goes beyond simple word-for-word conversion to capture the nuance and rhythm of the original dialog.
The play tells the story of a composer grappling with hearing loss and his relationship with his Deaf daughter. what sets this production apart is its commitment to a truly integrated experience, where spoken and signed lines are carefully timed to the cadence of the performances onstage, with different stylistic choices made for each language. Technical director, Liz Weild, estimates the production includes “over 5,000 cues” to ensure a seamless experience for all audience members.
This groundbreaking production addresses a critical gap in American theatre, where accessibility for Deaf audiences has historically been an afterthought. According to Weild, a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions, commissioning a gloss-a process that can be both time-consuming and expensive-is a necessity for creating genuinely inclusive theatre.”If we really want to have an American theatre that reflects who we say we are,” Weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Jonathan Feldman hopes the production fosters a sense of connection for all viewers. He reflects on a line from the play, “May you find yourselves in it,” questioning whether the production has successfully created a space where every audience member feels seen and represented.
The production serves as a model for future inclusive theatre, with the gloss created for ”Another Kind of Silence” intended as a resource for subsequent casts. The project is supported by a Critical Insight fellowship, a partnership between American Theatre magazine and Pittsburgh Public Theater, aimed at fostering theatre criticism and accessibility.
Pittsburgh’s City Theatre Co.Breaks Ground with fully Integrated ASL Production of “another Kind of Silence”
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf artists and utilizing a meticulously crafted “gloss” – a translation that goes beyond word-for-word equivalence to capture the nuance and rhythm of the play – aims to create a truly seamless experience for both Deaf and hearing audiences.
The play centers on a composer grappling with hearing loss and his relationship with his daughter, and features a cast including Anil Margsahayam, Monique “MoMo” Holt, Amelia Hensley, Hope Anthony, and Thomas Dellamonica. What sets this production apart is its commitment to full integration of ASL, with signed lines styled distinctly from spoken lines but timed to the cadence of the onstage performances. the technical complexity is immense, involving over 5,000 cues, but director Reggie D. white and the team strive for a presentation where the language delivery is invisible, allowing all audience members to fully engage with the story.
“we’re close to over 5,000 cues,” said Weild. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
The production’s creation of a detailed gloss-a resource for future casts-highlights a growing movement toward accessibility in American theatre. Commissioning such a gloss is a significant investment of time and resources, but essential for truly inclusive productions, according to those involved.
“If we really want to have an American theatre that reflects who we say we are,” said Weild, a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright and performer Peter Feldman reflects on the core question driving the production: “Have we built a play…where people can find themselves in it? Is there more we can do so that every person who’s watching it feels like that?”
The production is part of a larger initiative, including a Critical Insight fellowship between American Theatre and Pittsburgh Public Theater, aimed at fostering more robust theatre criticism and expanding access to diverse perspectives.
(Photo by KJH Studios)
Pittsburgh’s City Theatre Co.Breaks Ground with Fully Integrated ASL Production, “Another Kind of Silence”
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with ”Another Kind of Silence,” a production uniquely integrating American Sign Language (ASL) into the fabric of the play itself, rather than as a separate interpretation.The production, which opened this month, features a cast of both Deaf and hearing actors performing simultaneously, with dialogue presented in both spoken English and ASL, meticulously timed to the onstage action.
The play, by Diana Son, tells the story of a hearing man who falls for a Deaf woman, exploring themes of connection, communication, and the barriers-both visible and invisible-that separate people. What sets this production apart is its commitment to a “gloss,” a detailed document outlining every ASL translation and its precise timing, ensuring a seamless and equitable experience for all audience members. “We’re close to over 5,000 cues,” said director Monte Weild, highlighting the technical complexity of the undertaking.
This innovative approach aims to move beyond traditional interpreted performances, where ASL is often an add-on, to a truly bilingual production where both languages are integral to the storytelling. Spoken lines and signed lines are stylistically distinct, yet synchronized to the performance’s rhythm. The production’s success hinges on the meticulous gloss, a resource commissioned for future casts, despite the significant time and financial investment required.
According to Weild, a SODA (sibling of a Deaf adult) with extensive experience in bilingual productions, creating inclusive theatre is essential. “If we really want to have an American theatre that reflects who we say we are,” Weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.” Playwright Diana Son’s work is particularly suited to this approach, with a key line from the play – “May you find yourselves in it” – resonating deeply with the production team’s goal of creating a universally accessible and relatable experience.
The production is part of a partnership between American Theatre magazine and Pittsburgh Public Theater’s Critical Insight fellowship, supporting journalist Emma Diehl’s coverage of the production.
Pittsburgh’s City Theatre Co.Breaks Ground with fully Integrated ASL Production of “Another Kind of Silence”
Pittsburgh, PA - City Theatre Company is pioneering inclusive theatre with its production of ”Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf artists and utilizing a meticulously crafted “gloss” – a translation that goes beyond word-for-word equivalence to capture the nuance and rhythm of the play – aims to create a truly seamless experience for both Deaf and hearing audiences.
The play, which opened april 6, features a cast delivering both spoken and signed lines, timed to the cadence of the performances.This complex undertaking involved over 5,000 technical cues to ensure synchronization and clarity.According to director Monte Weild, the goal is for the technical complexity to be invisible, allowing all audience members to fully engage with the story. “If we’re doing our jobs right, it will look seamless, and every audience, deaf or hearing, will receive the show,” weild said.
“Another Kind of Silence” tells the story of Peter, a composer preparing to unveil his latest symphony, and explores themes of connection, communication, and finding oneself within art. Playwright and director,Jonathan Feldman,reflects on the play’s core message,questioning whether the production itself embodies that inclusivity: “Have we built a play…where people can find themselves in it? Is there more we can do so that every person who’s watching it feels like that?”
The production’s commitment to accessibility extends to the creation of a detailed gloss,a resource that will benefit future casts and productions.Weild, a SODA (sibling of a Deaf adult) with extensive experience in bilingual theatre, emphasizes the necessity of such investments for truly inclusive American theatre. “It requires thinking about everyone who is an artist, their cultures, their languages,” she stated.
The production is part of a partnership between American Theatre magazine and Pittsburgh Public Theater’s Critical Insight fellowship, supporting arts journalism and criticism.
Pittsburgh’s City Theatre Co. Breaks Ground with Innovative Bilingual Production of ’Another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). the production, a collaboration with Deaf and hearing artists, utilizes a meticulously crafted ”gloss” – a translation that goes beyond literal word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and features a cast of both Deaf and hearing actors.Director Monteze Freeland and playwright Karina Cochran worked with Deaf consultant Monique “MoMo” Holt and ASL Master Arielle Boros to ensure authentic representation and a seamless bilingual experience. The production boasts over 5,000 technical cues designed to synchronize spoken and signed lines, creating a unified performance for all audience members.
“We’re close to over 5,000 cues,” said director Reginald D. Weild. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
The creation of the gloss, a resource for future casts, was a significant undertaking, highlighting the necessity of investment in inclusive productions. Weild, a SODA (sibling of a Deaf adult) with extensive experience in bilingual theatre, emphasized the importance of reflecting diverse cultures and languages on American stages.
“If we really want to have an American theatre that reflects who we say we are,” Weild stated,”it requires thinking about everyone who is an artist,their cultures,their languages.”
Playwright Anna Ziegler’s work explores themes of connection and understanding, prompting reflection on the power of communication beyond words.As one character, Peter, states in the play, “May you find yourselves in it.” Director Monteze Freeland hopes the production achieves this sentiment, creating a space where all audience members feel seen and represented.
The production is part of a partnership between American Theatre magazine and Pittsburgh Public Theater’s Critical Insight fellowship, supporting arts journalism and critical dialogue.
Pittsburgh’s City Theatre Co. Breaks Ground with Innovative Bilingual Production of ‘another Kind of Silence’
pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of Silence,” a play simultaneously performed in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf and hearing artists, features a meticulously crafted “gloss”-a translation of the script into ASL that goes beyond simple word-for-word conversion to capture the nuance and rhythm of the original dialogue.
The play centers on a composer grappling with hearing loss and his relationship with his Deaf daughter.What sets this production apart is its commitment to a fully integrated bilingual experience, where spoken and signed lines are carefully timed to the cadence of the performances onstage, with different stylistic choices made for each language. Technical director, Liz Weild, estimates the production utilizes “over 5,000 cues” to ensure a seamless experience for all audience members.
This groundbreaking production addresses a critical gap in American theatre, where accessibility for Deaf audiences has historically been limited. According to Weild, a SODA (sibling of a Deaf adult) with extensive experience in bilingual productions, commissioning a gloss-a resource for future casts-is a necessary, though often time-consuming and expensive, step toward creating truly inclusive theatre. “If we really want to have an American theatre that reflects who we say we are,” Weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Jonathan Feldman hopes the production fosters a sense of connection for all viewers. Reflecting on a key line in the play-“May you find yourselves in it”-Feldman expressed a desire to create a work where “every person who’s watching it feels like that.”
The production is part of a partnership between American Theatre magazine and Pittsburgh Public Theater’s Critical Insight fellowship, which supports emerging theatre critics. Journalist Emma Diehl reported on the production as part of the fellowship.
Pittsburgh’s City Theatre Co. Breaks Ground with Innovative Bilingual Production of ’Another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf and hearing artists, utilizes a meticulously crafted “gloss” – a translation that goes beyond simple word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and his relationship with his Deaf daughter. What sets this production apart is its commitment to a fully integrated bilingual experience, with spoken and signed lines timed to the cadence of the performances onstage. Technical director, Liz Weild, estimates the production involves “over 5,000 cues” to ensure a seamless experience for all audience members, regardless of hearing ability.
This groundbreaking approach addresses a significant gap in American theatre, where accessibility for Deaf audiences often remains an afterthought. According to Weild, a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions, commissioning a gloss – a process that can be both time-consuming and expensive – is a necessity for truly inclusive theatre.”If we really want to have an American theatre that reflects who we say we are,” Weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Jonathan Feldman hopes the production fosters a sense of connection for all viewers. He reflects on a key line in the play, “may you find yourselves in it,” questioning whether the production successfully creates a space where every audience member feels seen and understood.
The production is part of a larger initiative,including a Critical Insight fellowship between American Theatre and Pittsburgh Public Theater,aimed at fostering more robust theatre criticism and expanding access to diverse perspectives within the field.
Pittsburgh’s City Theatre Co. Breaks Ground with Fully Integrated ASL Production, “Another Kind of Silence”
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with “Another Kind of Silence,” a production uniquely designed for both Deaf and hearing audiences through the simultaneous use of spoken English and American Sign Language (ASL). The play, which premiered this month, features a “gloss”-a detailed document translating dialogue and nuance into ASL-and meticulously timed performances ensuring both languages are experienced seamlessly.
The production represents a significant step toward accessibility in american theatre, going beyond traditional interpretation to fully integrate ASL into the storytelling. “We’re close to over 5,000 cues,” said director Monteze Freeland-Samuels, quoted in American Theatre. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
The play centers on composer Peter, navigating a complex relationship with his deaf brother and the challenges of artistic expression. playwrights Antoinette Nwandu and Jonathan Payne crafted the script with bilingualism in mind,and the production team,led by Freeland-Samuels and dramaturg Melissa Weild,invested heavily in creating the detailed gloss. This gloss serves as a vital resource for actors and future productions, despite the significant time and financial commitment required.
Weild, a SODA (sibling of a Deaf adult) with extensive experience in bilingual productions, emphasized the necessity of such investments. “If we really want to have an American theatre that reflects who we say we are,” she stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
The production’s success hinges on its ability to create a shared experience, prompting reflection on inclusivity and representation. As playwright Jonathan Payne noted, the question guiding the team was, “Have we built a play…where people can find themselves in it? Is there more we can do so that every person who’s watching it feels like that?”
“Another Kind of Silence” runs through April 28th at City Theatre Company in Pittsburgh.The production is a collaboration with American Theatre through the Critical Insight fellowship, supporting arts journalism and critical dialogue.
Pittsburgh’s City theatre Co. Breaks Ground with Innovative Bilingual Production of ’Another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with its production of “Another Kind of Silence,” a play simultaneously performed in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf artists and utilizing a meticulously crafted “gloss” – a translation that goes beyond word-for-word equivalence to capture the nuance of theatrical performance – aims to create a fully accessible experience for both Deaf and hearing audiences.
the play centers on a composer grappling with hearing loss and his relationship with his Deaf daughter. What sets this production apart is its commitment to linguistic equity; spoken and signed lines are distinctively styled yet synchronized to the performance’s rhythm. Technical director, Liz Weild, estimates the production involves “over 5,000 cues” to ensure a seamless integration of both languages.
This ambitious undertaking reflects a growing movement within American theatre to prioritize inclusivity and representation. According to Weild, a SODA (sibling of a Deaf adult) with extensive experience in bilingual productions, commissioning a gloss – a resource for future casts – is essential for creating truly inclusive work, despite being a time- and capital-intensive process. “If we really want to have an American theatre that reflects who we say we are,” weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Jonathan Feldman expressed a desire for worldwide resonance, reflecting on a key line from the play: “May you find yourselves in it.” He questions whether the production successfully creates a space where all audience members feel seen and understood, and seeks continuous betterment in achieving that goal.
The production is part of a partnership between American Theatre magazine and Pittsburgh Public Theater’s Critical Insight fellowship, supporting arts journalism and critical perspectives.
Pittsburgh’s City Theatre Co. Breaks Ground with Innovative Bilingual Production of ‘Another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production, a collaboration with deaf and hearing artists, utilizes a meticulously crafted “gloss” – a translation that goes beyond simple word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and his relationship with his Deaf daughter.What sets this production apart is its commitment to a fully integrated bilingual experience, with spoken and signed lines timed to the cadence of the performances onstage. Technical director, Liz Weild, estimates the production involves “over 5,000 cues” to ensure a seamless experience for all audience members, regardless of hearing ability.
This groundbreaking production addresses a critical gap in American theatre, where accessibility for Deaf audiences remains a significant challenge.According to Weild,a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions,commissioning a gloss – a time- and capital-intensive process - is “a necessity when creating inclusive productions.” The goal, she states, is to build “an American theatre that reflects who we say we are,” embracing the cultures and languages of all artists and audiences.
Playwright Jonathan Feldman emphasizes the production’s core question: “have we built a play…where people can find themselves in it?” He reflects on a key line from the play, “May you find yourselves in it,” as a guiding principle for creating a truly inclusive and resonant theatrical experience.
The production is part of a larger initiative, including a Critical Insight fellowship between American Theatre and Pittsburgh Public Theater, aimed at fostering more robust theatre criticism and expanding access to diverse perspectives within the field.
[Image of Anil Margsahayam, Monique “MoMo” Holt, Amelia Hensley, Hope Anthony, and Thomas Dellamonica in “Another kind of Silence” at City Theatre. (Photo by KJH Studios)]
Pittsburgh’s City Theatre Co.Breaks Ground with Innovative Bilingual Production of ‘Another Kind of Silence’
Pittsburgh, PA - City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign language (ASL). The production, a collaboration with Deaf and hearing artists, utilizes a meticulously crafted “gloss”-a translation that goes beyond literal word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
the play centers on a composer grappling with hearing loss and his relationship with his Deaf daughter.What sets this production apart is its commitment to a fully integrated bilingual experience, with spoken and signed lines timed to the cadence of the performances onstage. Technical director Liz Weild estimates the production involves “over 5,000 cues” to ensure a seamless experience for all audience members, deaf or hearing.
This groundbreaking production addresses a critical gap in American theatre, where accessibility for Deaf audiences remains a significant challenge. According to director Monteze Freeland, commissioning a gloss-a process that can be both time-consuming and expensive-is a necessity for truly inclusive productions. “If we really want to have an American theatre that reflects who we say we are,” says Weild, a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions, “it requires thinking about everyone who is an artist, their cultures, their languages.”
The production team hopes “Another Kind of silence” will serve as a model for future inclusive theatre, with the created gloss becoming a valuable resource for other companies. Playwright Jordan T.Feinstein’s work explores themes of connection and understanding, culminating in a poignant line delivered by the character Peter: “May you find yourselves in it.” Freeland reflects on this sentiment, questioning whether the production has successfully created a space where all audience members can see themselves reflected in the story.
The production runs through April 28th at City Theatre company in Pittsburgh.
Pittsburgh’s City Theatre Co.Breaks Ground with Fully Integrated ASL Production, “Another Kind of Silence”
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with “Another Kind of Silence,” a production uniquely designed for both Deaf and hearing audiences through the simultaneous use of spoken English and American Sign Language (ASL). The play, which premiered this month, features a “gloss”-a detailed document translating dialogue and nuance into ASL-and meticulously timed performances ensuring both languages are experienced seamlessly.
The production represents a significant step toward accessibility in American theatre, going beyond traditional interpretation to fully integrate ASL into the storytelling. “We’re close to over 5,000 cues,” said director Monteze Freeland-Gallimore, referencing the complex technical undertaking. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
“Another Kind of Silence” tells the story of a composer grappling with his legacy and a Deaf music critic who challenges his perceptions. Playwrights Peter Kujawinski and Beau willimon crafted the script with bilingual performance in mind, and the production team, led by Freeland-Gallimore, has worked closely with Deaf artists and consultants to ensure authenticity and artistic integrity. The cast includes Anil Margsahayam, Monique “MoMo” Holt, Amelia Hensley, Hope Anthony, and Thomas Dellamonica.
creating a production of this scale requires substantial investment. Commissioning a gloss, essential for nuanced translation, is both time-consuming and costly. However, director Reginald D. douglas, a SODA (sibling of a Deaf adult) with extensive experience in bilingual productions, emphasizes its necessity. “If we really want to have an American theatre that reflects who we say we are,” Douglas stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
The production’s ambition extends beyond technical achievement. Playwright Beau Willimon reflects on the core question driving the work: “Have we built a play…where people can find themselves in it? Is there more we can do so that every person who’s watching it feels like that?” ”Another Kind of Silence” aims to answer that question by creating a truly shared theatrical experience.
The production runs through April 28th at City Theatre company in Pittsburgh.
Pittsburgh’s City Theatre Co. Breaks Ground with Fully Integrated ASL Production, “Another Kind of Silence”
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with “Another Kind of Silence,” a production uniquely designed for both Deaf and hearing audiences through the simultaneous use of spoken English and American Sign Language (ASL). The play, which premiered in April 2024, features a “gloss”-a detailed document translating dialogue and nuance into ASL-and meticulously timed performances ensuring both languages are experienced seamlessly.
The production marks a significant step toward accessibility in American theatre, addressing a past lack of representation and inclusion for Deaf artists and audiences. According to American Theatre magazine, the play utilizes over 5,000 cues to synchronize spoken lines, styled distinctly from signed lines, to the cadence of the onstage performances. This complex undertaking aims to create a unified theatrical experience, regardless of how audience members perceive it.
“We’re close to over 5,000 cues,” said director Reggie D. White, quoted in American Theatre. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
Playwright Antoinette N. Chinonye Livington’s work centers on composer Peter, navigating a professional crisis and a family secret.The production’s commitment to inclusivity extends beyond language,with a cast including Anil Margsahayam,Monique “MoMo” Holt,amelia Hensley,Hope Anthony,and thomas Dellamonica.
Creating the gloss-the ASL translation-is a resource for future casts,though a time- and capital-intensive process. Director Weild, a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions, emphasized the necessity of such investments.
“If we really want to have an American theatre that reflects who we say we are,” Weild stated to American Theatre, “it requires thinking about everyone who is an artist, their cultures, their languages.”
The production prompts reflection on the core purpose of theatre itself.As Feldman noted,referencing a line from the play-“May you find yourselves in it”-the team continually asks whether they have created a space where all audience members feel seen and represented.
The American Theatre article was written by Emma Diehl, an inaugural member of the publication and Pittsburgh Public Theater’s Critical Insight fellowship.
Pittsburgh’s city Theatre Co. Breaks Ground with Innovative Bilingual Production of ‘Another Kind of Silence’
Pittsburgh, PA – City Theatre company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf and hearing artists, utilizes a meticulously crafted “gloss” - a translation that goes beyond literal word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and features a cast of both Deaf and hearing actors. Director Reggie D. White and playwright Carson Kreitzer worked with a team led by ASL Director Monique ”MoMo” Holt to ensure a seamless and emotionally resonant experience for all audience members. The production boasts over 5,000 technical cues designed to synchronize the spoken and signed performances, with spoken lines styled differently from signed lines to clearly delineate each language.
This groundbreaking production addresses a critical gap in American theatre accessibility. According to City Theatre’s artistic Director, Jeremy B. Cohen, and Producing Artistic Director, Molly Rice, the creation of a detailed gloss is a significant investment, but a necessary one for truly inclusive storytelling. SODA (sibling of a Deaf adult) and veteran bilingual productions expert, Kyle Weild, emphasized the importance of considering all artists, cultures, and languages to reflect a truly representative American theatre.
“If we really want to have an American theatre that reflects who we say we are,” Weild stated,”it requires thinking about everyone who is an artist,their cultures,their languages.”
playwright Carson kreitzer hopes the production fosters a sense of connection for all viewers. Reflecting on a key line in the play – “may you find yourselves in it” – Kreitzer expressed a desire to create a production where every audience member feels seen and understood. The production serves as a model for future inclusive theatre endeavors, with the gloss created for “Another Kind of Silence” intended as a resource for subsequent casts.
The production runs through April 28th at City Theatre Company in Pittsburgh.
Pittsburgh’s City Theatre Co. Breaks Ground with Fully Integrated ASL Production, “Another Kind of silence”
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with “Another Kind of Silence,” a production uniquely integrating American Sign Language (ASL) into the fabric of the play itself, rather than as a separate interpretation.The production, which opened this month, features a cast of both Deaf and hearing actors performing simultaneously, with dialogue presented in both spoken English and ASL.
The play, by Karina Cochran, tells the story of a composer grappling with hearing loss and his relationship with his Deaf daughter. What sets this production apart is the meticulous creation of a “gloss”-a detailed document mapping every line of dialogue to its corresponding sign-resulting in a performance where ASL isn’t simply translating the spoken word, but is an equal and integral part of the storytelling. “Spoken lines are stylized differently from signed lines, but all are timed to the cadence of the performances onstage,” according to American Theatre.
This ambitious undertaking involved over 5,000 technical cues to ensure seamless synchronization between the spoken and signed performances. Director Monte Weild, a Sibling of a Deaf Adult (SODA) with extensive experience in bilingual productions, emphasized the necessity of such detailed work for truly inclusive theatre. “If we really want to have an American theatre that reflects who we say we are,” Weild stated,”it requires thinking about everyone who is an artist,their cultures,their languages.”
The production’s director of new play development, Natalie Feldman, hopes the detailed gloss created for “another Kind of Silence” will serve as a resource for future casts and productions striving for similar inclusivity. While commissioning a gloss is resource-intensive, Weild argues it’s a crucial investment. Feldman reflected on the play’s core message, quoting a line from the script: “May you find yourselves in it.” She questioned whether the production had achieved its goal of creating a space where all audience members feel represented and seen.
the production is a collaboration between City Theatre Company and American Theatre magazine, which supported the project through its Critical Insight fellowship program, awarding journalist Emma Diehl the opportunity to cover the production.
Pittsburgh’s City Theatre Co. Breaks Ground with Innovative Bilingual Production of ‘Another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “another Kind of Silence,” a play simultaneously performed in spoken English and american Sign Language (ASL). The production, a collaboration with Deaf and hearing artists, utilizes a meticulously crafted “gloss” – a translation that goes beyond simple word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and his relationship with his Deaf daughter. What sets this production apart is its commitment to a fully integrated bilingual experience, with spoken and signed lines timed to the cadence of the performances onstage. Technical director Liz Weild estimates the production involves “over 5,000 cues” to ensure a seamless experience for all audience members, Deaf or hearing.
This groundbreaking production addresses a critical gap in American theatre, where accessibility for Deaf audiences remains a significant challenge. According to director Monteze Freeland, commissioning a gloss - a process that can be both time-consuming and expensive – is a necessity for truly inclusive productions. “If we really want to have an American theatre that reflects who we say we are,” says Weild, a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions, “it requires thinking about everyone who is an artist, their cultures, their languages.”
The production team hopes “Another Kind of Silence” will serve as a model for future inclusive theatre, with the created gloss becoming a valuable resource for other companies. As playwright Rachel Feldman reflects,the core question driving the project is whether the production truly allows all audience members to “find themselves in it.”
Pittsburgh’s City Theatre Co. Breaks Ground with Fully Integrated ASL Production
Pittsburgh,PA – City Theatre Company is pioneering inclusive theatre with “Another Kind of Silence,” a production uniquely integrating American Sign Language (ASL) into the fabric of the play itself,rather than as a separate interpreted performance.The production, a collaboration with deaf and hearing artists, features a “gloss”-a detailed document outlining ASL translations timed to the spoken dialogue-containing over 5,000 cues.
The play, written by Antoinette Nwandu, tells the story of a Black composer and his Deaf brother, exploring themes of family, communication, and artistic expression. This production marks a significant step toward accessibility in American theatre, aiming to create a seamless experience for both Deaf and hearing audiences. According to City Theatre Artistic Director, Tracy Brigden Weild, commissioning a gloss, while resource-intensive, is “a necessity when creating inclusive productions.”
The production’s innovative approach goes beyond simply adding interpretation. Spoken lines and signed lines are stylistically distinct, yet synchronized to the performance’s rhythm. “If we really want to have an American theatre that reflects who we say we are,” Weild stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Antoinette Nwandu and director Melissa feldman collaborated closely on the production,striving for a deeply resonant experience for all viewers. Feldman reflected on a key line from the play, “May you find yourselves in it,” questioning whether the production truly allows every audience member to connect with the story.
The production is part of a larger initiative, including a Critical Insight fellowship between American Theatre magazine and Pittsburgh Public Theater, supporting arts journalism and critical perspectives on inclusive theatre practices.
Pittsburgh’s City Theatre Co. Breaks Ground with Fully Integrated ASL Production, ”Another Kind of Silence”
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with “Another Kind of Silence,” a production uniquely designed for both Deaf and hearing audiences through the simultaneous use of spoken English and American Sign Language (ASL). The play, which premiered this month, features a “gloss”-a detailed document translating dialogue into ASL, ensuring a fully integrated theatrical experience rather than traditional interpretation.
The production marks a significant step toward accessibility in American theatre, going beyond simply offering interpreted performances. Director Monte Weild, a Sibling of a Deaf Adult (SODA) with decades of experience in bilingual productions, explained the complexity of the undertaking: “We’re close to over 5,000 cues,” referring to the precise timing required to synchronize spoken lines and signing. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
“Another Kind of Silence,” written by Hannah Zeavin, centers on a composer grappling with hearing loss and his relationship with his Deaf daughter. The production’s innovative approach extends to the visual presentation, with spoken lines styled differently from signed lines, all timed to the cadence of the performances onstage. Playwright Anna Feldman emphasized the production’s core question: “Have we built a play…where people can find themselves in it? Is there more we can do so that every person who’s watching it feels like that?”
Creating a gloss, while essential for inclusive productions, is a resource-intensive process. Weild underscored the broader implications for the field: “If we really want to have an American theatre that reflects who we say we are, it requires thinking about everyone who is an artist, their cultures, their languages.” City theatre’s production serves as a model for future bilingual theatrical endeavors, aiming to broaden access and representation within the American theatre landscape.
Pittsburgh’s City Theatre Co. breaks Ground with Innovative Bilingual Production of ’Another kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering a new level of theatrical inclusivity with its production of “Another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production, a collaboration with Deaf and hearing artists, utilizes a meticulously crafted “gloss”-a translation that goes beyond simple word-for-word conversion to capture the nuance and rhythm of the original text in ASL.
The play centers on a composer grappling with hearing loss and features a cast of both Deaf and hearing actors. Director Reggie D.White and playwright Carson Kreitzer worked with a team led by ASL Director Monique “MoMo” Holt to ensure a seamless and equitable experience for all audience members. The production features over 5,000 technical cues designed to synchronize spoken and signed lines, with stylistic differences employed to distinguish between the two languages.
“We’re close to over 5,000 cues,” said director Reggie D. White. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
The creation of the gloss-a resource for future casts-was a significant undertaking, highlighting the financial and time commitment required for truly inclusive theatre. According to City Theatre’s artistic director, Jeremy B. Cohen (a SODA – sibling of a Deaf adult), such efforts are essential for building an American theatre that genuinely reflects its diverse audience and artistic community.
“if we really want to have an American theatre that reflects who we say we are,” Cohen stated, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Carson Kreitzer echoes this sentiment, reflecting on a key line from the play: ”May you find yourselves in it.” Kreitzer hopes the production fosters a sense of belonging for all viewers, prompting a continuous evaluation of how to create more inclusive theatrical experiences.
The production runs through April 28th at City Theatre Company in Pittsburgh.
Emma Diehl, a journalist and critic, reported this story as part of the American Theatre and Pittsburgh Public Theater’s Critical Insight fellowship.
Pittsburgh’s City Theatre Co. Breaks Ground with Innovative Bilingual Production of ‘Another Kind of Silence’
Pittsburgh, PA – City Theatre Company is pioneering inclusive theatre with its production of ”another Kind of Silence,” a play performed simultaneously in spoken English and American Sign Language (ASL). The production,a collaboration with Deaf artists and utilizing a meticulously crafted “gloss” – a translation that goes beyond word-for-word equivalence to capture the nuance of theatrical performance – aims to create a fully accessible experience for both Deaf and hearing audiences.
The play centers on a composer grappling with hearing loss and his relationship with his Deaf daughter. What sets this production apart is its commitment to linguistic equity; spoken and signed lines are deliberately timed to the cadence of the performances, with over 5,000 technical cues ensuring a seamless integration of both languages. This approach, championed by City Theatre’s artistic director, Tracy Brigden, and director, Caitlin Weild, represents a significant step toward a more inclusive American theatre landscape.
“We’re close to over 5,000 cues,” said Weild. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
The creation of the gloss,a resource for future casts,was a substantial undertaking,highlighting the financial and time commitment required for truly inclusive productions. Weild,a SODA (sibling of a Deaf adult) with extensive experience in bilingual theatre,emphasizes the necessity of such investments.
“If we really want to have an American theatre that reflects who we say we are,” said Weild, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Matthew M. Feldman reflects on the production’s core question: “Have we built a play…where people can find themselves in it? Is there more we can do so that every person who’s watching it feels like that?”
The production features Anil Margsahayam, Monique “MoMo” Holt, Amelia Hensley, Hope Anthony, and Thomas Dellamonica. “Another Kind of Silence” is running at City Theatre in Pittsburgh through April 28, 2024.
Pittsburgh’s City Theatre Co. Breaks Ground with Fully Integrated ASL Production,”Another Kind of Silence”
Pittsburgh,PA – City Theatre Company is pioneering inclusive theatre with “Another Kind of Silence,” a production uniquely integrating American Sign Language (ASL) into the fabric of the play itself,rather than as a separate interpretation. The production, which opened this month, features a cast of both Deaf and hearing actors performing simultaneously, with dialogue presented in both spoken English and ASL.
the play, written by Antoinette Nwandu, tells the story of a hearing composer, peter, and his Deaf sister, Beatrice, exploring themes of family, communication, and connection. what sets this production apart is the meticulous creation of a “gloss”-a detailed document mapping every line of dialogue to its corresponding sign-resulting in a performance where ASL isn’t an add-on, but an integral part of the storytelling. Over 5,000 cues were required to synchronize spoken and signed lines to the cadence of the performances onstage.
“We’re close to over 5,000 cues,” said director Monte Weild. “It’s technical and complex, but if we’re doing our jobs right, it will look seamless, and every audience, Deaf or hearing, will receive the show.”
The production’s commitment to inclusivity extends beyond performance. Playwright Jordan E. Cooper worked with Deaf consultant Monique “MoMo” Holt to ensure authentic representation. The creation of the gloss, a resource for future casts, is a significant investment, but one Weild, a SODA (sibling of a Deaf adult) with decades of experience in bilingual productions, deems essential.
“If we really want to have an American theatre that reflects who we say we are,” said Weild, “it requires thinking about everyone who is an artist, their cultures, their languages.”
Playwright Antoinette Nwandu’s work frequently enough centers on black identity and family dynamics.In “Another Kind of Silence,” she poses questions about connection and belonging. As the character Peter says, “May you find yourselves in it.” Director Jordan E.Feldman reflects on this line, questioning whether the production truly offers a space for all audience members to see themselves represented.
The production is part of a partnership between American Theatre magazine and Pittsburgh Public Theater’s Critical Insight fellowship, which supports emerging theatre critics. Emma Diehl, a journalist and critic, is covering the production as part of the fellowship.
