cover

pdf iconDownload PDF
 

copyright

pdf iconDownload PDF
 

Contents

pdf iconDownload PDF

p. v

read more

Foreword: Lurking from the Shadows

pdf iconDownload PDF

pp. vii-xi

WHEN IT COMES TO portraying Deaf people and their cultures onstage, very few hearing playwrights get it right. When Mark Medoff wrote his play Children of a Lesser God, he couched the love story within the then-raging political war between speech and sign. The input from his Deaf collaborator Phyllis Frelich on the ...

read more

Snooty

pdf iconDownload PDF

pp. 1-39

All players except GRAHAM and COPP should wear what seventh-graders would normally wear (T-shirts and jeans); but in Snooty’s world, the more fedora hats and trench coats, the better. (Imaginary trench coats and fedora hats are fine too.) GRAHAM should wear a classy dark outfit with pumps. COPP should wear a navy blue business suit. ...

read more

Love in My Veins

pdf iconDownload PDF

pp. 40-80

Both characters are deaf and use ASL to communicate. They can be voiced by two hearing actors for the signing-impaired. Over the course of their twenty-five-year relationship, which travels from the year 1975 to the present, both characters will age from their early twenties to their early fifties. They can wear the same black outfit from beginning to end, with possible clothing accouterments ...

read more

Doogle

pdf iconDownload PDF

pp. 81-125

Minimally, the play requires four teenaged girls and four teenaged boys. One boy (LEO) can also play the male adult characters (WEBB, ISEL, etc.), and one girl (CATE) can also play the female adult characters (VRS, QUINCEY, BARBETT, etc.) as needed. If it’s possible to cast separate actors for these adult roles, that’s also fine. ...

read more

Whispers of a Savage Sort

pdf iconDownload PDF

pp. 126-176

WHISPERS OF A SAVAGE SORT received its workshop premiere at the first New American Deaf Play Creators Festival (Kelly Morgan, artistic director) at the National Technical Institute for the Deaf, Rochester, New York, on 11 September 1996. Produced by Mary Vreeland, the play was directed by Howie Seago. The set and lighting ...

About the Author

pdf iconDownload PDF

p. 177