January 8, 2012 in Region

Shakespeare festival listens to needs of hearing-impaired

Sam Wheeler Ashland (Ore.) Daily Tidings
 
Associated Press photo

This 2008 photo provided shows captions on an LED board as actress Soneela Nankani performs the play “The Clay Cart” in Ashland, Ore.
(Full-size photo)

ASHLAND, Ore. – For deaf and hearing-impaired audience members and others with disabilities, the accessibility of a genuine theater experience at Oregon Shakespeare Festival is better than ever.

Since captioning its first play in 2007, the OSF has continued to bolster in-theater services for its deaf and hearing-impaired audience members each season, and is discussing the potential of making further adjustments to better those services for upcoming seasons.

“We recognize that there is a need and a desire for these open-captioned and sign-interpreted performances,” said OSF Media and Communications Manager Amy Richard. “It’s becoming more popular as word gets out that we are doing this.”

The festival has been asked to provide readable captions for performances theaterwide by the Oregon Communication Access Project, an advocacy group that focuses on making public venues more accessible to people with hearing loss.

“We’ve had conversations about that with them and within the company,” said Richard. “The main thing you have to consider is, how do you do that so that it’s accessible and viewable by everyone, but not a distraction to those not using it?”

Richard said the theater has discussed the potential of installing a permanent caption board, also known as supertitles, to run above the stage, or installing small screens in the backs of seats. None of the OSF’s theaters is specifically being considered at this point in the discussions, and the project isn’t at the top of OSF’s list, she said.

Supertitles appear above the stage for most operas that are staged in Italian, French, German or other languages.

John F. Waldo, a spokesman and attorney for the Oregon Communication Access Project and its branch in Washington state, said purists thought the supertitles would ruin opera performances, but now captions have become the norm.

“Even so, with its current changes, the Shakespeare Festival is now by far the most accessible, for these types of plays, out of any theater in the country,” he said.

Waldo, 66, suffers from partial hearing loss himself, and having experienced theater with good and bad hearing, said, “The captions are good for anyone.”

“Most of us haven’t been able to go to the theater for years, so it’s just a delight to see this happening,” he said. “And you know what most people say to me when I walk out of a performance with open captions? ‘You know, my hearing is fine, but those captions kind of help.’ ”

The festival plans to caption 24 performances during the 2012 season and is allowing patrons to request captions for any performance, a new addition to its services, said Richard.

Because most of the festival’s audience travels to fill its theaters, OSF schedules its captioned performances in weeklong clusters, so patrons can fully immerse themselves in the festival.

“If folks are coming to town to see an open-captioned performance, and they want to see more than one, they can. As a destination theater, that’s something we have to do for it to be effective,” said Richard.

For performances, the festival uses a portable LED board that flashes red captions from a perch below the left of the stage. A section in front of the board is reserved for the deaf or hearing-impaired.


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