Note: In keeping with the mission of the Chicago Cultural Accessibility Consortium, photo captions include detail for visually impaired readers.
Longtime Safe & Sound blog readers might recall a post I wrote in 2011 about seeing the play Who’s Afraid of Virginia Woolf? here in Chicago. Better put, when I felt and heard the play: Steppenwolf provided special programming for that play for people who are blind, the first time I ever participated in a special touch tour.
Eight years and dozens of theater pre-show experiences later, I was flattered to be asked to help with the “Accessible Services Showcase” put on two weeks ago by the Chicago Cultural Accessibility Consortium (CCAC), a non-profit helping to make Chicago cultural spaces more accessible to visitors with disabilities.
CCAC recruited a large crew that included two actors, a director, a stage manager, a production manager, American Sign Language interpreters, captioners, and an audio describer to present a 15-minute play last month that offered a demonstration project of sorts, a way to show what’s possible — and how to make it real.< em>Project Potential, a short play by local playwright Isaac Gomez and directed by Laura Alcalá Baker, featured these services…all at the same time:
- Two American Sign Language interpreters standing close enough to the action so that people who communicate via sign language could watch the interpretation and the live action simultaneously
- Screens for Open Captioning set up in three different locations so no matter where their ticket was, people who couldn’t hear well could see the screens
- Audio description performed by a professional describer who narrates the action to people who are blind or have a visual impairment via headsets provided by the theater, working to capture each scene without speaking over lines
With some variation, cultural institutions that offer accessible performances usually divvy that all up: one or two performances per run that offer ASL and/or live captioning, another one on a different day with a pre-show for people with visual impairments and so on. And for most live performances, the audio describers, ASL interpreters and live open captioners are not part of the rehearsal or creative process. They prepare by previewing performances and/or working from videos or audio recordings to figure out what to interpret or describe for patrons with disabilities. That means that they’re usually preparing based off an already completed product — which can create challenges, both for the quality of the services and the overall experience of the audiences using them .
But this time was different. They all were invited to attend the rehearsals. And so was I!
Add this to my vita: I am now considered an expert user of audio description of live performances, and along with other user experts who are deaf, use wheelchairs, and identify as having Sensory Processing Disorder, I was invited to attend all four rehearsals for the short play. I learned a ton being at those rehearsals, here are a few nuggets:
- Sign language interpreters have to sort of memorize the action on stage — if they turn around to look, deaf audience members won’t be able to see their hands
- The people creating captions during the show avoid writing THEM IN ALL CAPS because ALL CAPS CAN TAKE LONGER TO READ than words printed in lower case
- Actors are very patient people. During rehearsals the two actors we worked with had to do short scenes over and over again so we could coordinate all the accessibility stuff going on around them
- The audio describer’s job would be a lot easier if they could be at a tech rehearsal alongside someone who uses their services — it can be hard for someone who can see to figure out what a person who is blind can figure out for themselves.
Audio describer Jack Miggins and I sat side-by-side during rehearsals, and he whispered to me what he would say to describe the action on stage. At the same time, I told him what I could figure out on my own.
Perhaps the best example of this was a scene where a high school principal was having a teacher sign a bunch of forms. The principal sat at a table, passed the form over to the teacher, and said out loud, “Sign here.” The teacher signed with such gusto that I could hear the ball-point pen moving across the paper, so after Jack whispered “She signs” I could let him know that (for me, at least) description wasn’t necessary.
But then there’s this: I myself can’t assume everyone in the audience with low-vision would be able to figure that out — it’s also contingent on everyone using the audio description being able to hear something that subtle. Based off their proximity to the stage and their individual hearing ability, some may not. So that’s just one of many, many factors a describer has to weigh.
The presentation was co-sponsored by Theater on the Lake, and free tickets for the June 27 performance were offered to accessibility coordinators, executives, front of house staff, marketing people, and people from the technical and artistic teams at cultural organizations (mostly theaters) from all over Chicago. They all got a first-hand look at how accessibility works, and they stayed afterwards as sign language interpreters, captioners, and Jack Miggins and I gave 15-minute presentations on what went on behind the scenes to make it all happen. “I wish we could be at rehearsals for every play I describe!” Jack told the audience. “It would make my job so much easier.”
A week or so after the event was over, I discovered that was part of the plan: to encourage theaters to someday involve accessibility concerns in play rehearsals ahead of time, and to consider accessibility as a production element as important as sound, lighting, costumes, set design and so on during the creative process. Will that ever happen? Guess we’ll just have to wait and see.
I mean, hear.
Thank you for letting us peek behind the curtains, sort of. It reminds me a bit of playing pictionary, or that game in which you have to describe a movie/song/book title by specifying the number of words and acting them out. I find it fascinating and humbling!
Oh, Iliana, I love your take on this. It was indeed a “peek behind the curtain” and I’m flattered you found it fascinating=I had a hard time keeping the post short, there was so much to say. Thanks for your encouraging comment.
How exciting – for you and the people that will soon benefit from this endeavor! Congratulations to the city of Chicago for working so diligently to make the arts accessible to all!
This sounds like it was a marvelous experience. Glad you were selected to be part of it at the beginning stage.
Oh,Audrey, I am, too. the rehersals took up a lot of time (I can not imagine how much goes into putting a regular long two-act play together!) but I met very kind and interesting people and when the event went so well, it seemed all worth it.
And Marilee, yes, the City of Chicago should be proud! I am so glad we decided to move here when we did –that was over 15 years ago already.
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