Disability News Service, Resources, Diversity, Americans with Disabilities Act; Local and National.

Showing posts with label Theatre Performances. Show all posts
Showing posts with label Theatre Performances. Show all posts

Monday, October 9, 2017

U.S. Appeals Court Finds Movie Theaters Must Accommodate Deaf-Blind Patrons

(AP) — Federal disability law requires movie theaters to provide specialized interpreters to patrons who are deaf and blind, an appeals court said Friday Oct. 6, 2017. 
Associated Press | October 8, 2017                                                                                              

The Philadelphia-based 3rd U.S. Circuit Court of Appeals ruled against Cinemark, the nation’s third-largest movie chain, in a case involving a Pennsylvania man who wanted to see the 2014 movie “Gone Girl” and asked a Cinemark theater in Pittsburgh to supply a “tactile interpreter.” The theater denied his request.

The plaintiff, Paul McGann, is a movie enthusiast who reads American Sign Language through touch. He uses a method of tactile interpretation that involves placing his hands over the hands of an interpreter who uses sign language to describe the movie’s action, dialogue and even the audience response.

The federal appeals court concluded Friday that tactile interpreters are covered by the Americans with Disabilities Act, which requires that public accommodations furnish “auxiliary aids and services” to patrons with vision, hearing and speech disabilities.

“It would be impossible for a deaf-blind person to experience the movie and understand the content without the provision of tactile interpretation,” said Carol A. Horowitz, managing attorney of Disability Rights Pennsylvania, which filed suit on McGann’s behalf.

The ruling said Cinemark still can argue that providing the interpreters would present an “undue burden,” an exception to the disability law that takes into account the cost of the accommodation and the business’s ability to pay for it. It sent the case back to a federal judge to consider that argument.

Because of the intensive nature of the work, McGann requires the services of two interpreters. The interpreters cost a few hundred dollars per showing.

Cinemark earned $257 million in 2016. The movie chain also has said that before McGann, it had never before received a request for tactile interpretation.

A spokesperson for the Plano, Texas-based chain said Cinemark is evaluating its legal options.

The U.S. Department of Justice filed documents in support of McGann.

Tuesday, August 1, 2017

Chicago Shakespeare in the Parks 2017 tour of "Romeo and Juliet“, with ASL, & Audio-described Accessible Performances

One of my favorite rites of summer in Chicago has become Chicago Shakespeare in the Parks, and with the amount of people asking for information on the 2017 season, (with accessible performances), it appears on all sides of the city, I'm not alone. 

Chicago Shakespeare Theater on Navy Pier, with the producers, actors, stagehands working with the City of Chicago, volunteers, local Park Advisory committees, and of course sponsors continue this wonderful new tradition in Chicago. The information posted below is from the "Chicago Shakespeare Theater on Navy Pier" website.
All performances are posted, with the "Access Shakespeare" schedule posted also. ENJOY! - Jim

 Dvorak park - 2013 - Jim Watkins/Ability Chicago Info photo        
THE PLAY
Join us for one of our city’s favorite summer traditions! Now in its sixth year, the FREE FOR ALL Chicago Shakespeare in the Parks tour heads out for another summer. This free 75-minute abridged production of Romeo and Juliet is coming to neighborhood parks across the north, west and south sides of the city. At each tour location, a specially equipped truck rolls into the park, a stage unfolds, and a company of professional actors shares Shakespeare’s story of star-crossed lovers with families and neighbors of all ages.

The feud between the Capulets and Montagues divides a city. From these two proud families, Romeo and Juliet fall in love. Can these star-crossed lovers bring peace to Verona?

The citywide tour is made possible by a renewed civic, cultural and corporate partnership between Chicago Shakespeare Theater, the City of Chicago, Chicago Park District, Boeing and BMO Harris Bank. Since the inception of the Chicago Shakespeare in the Parks program six years ago, more than 100,000 Chicagoans have taken advantage of free performances in their communities.


YouTube published by Chicago Shakespeare Theater
400 years after Shakespeare's death, thousands of Chicagoans came out to their neighborhood parks to celebrate what his means to them and why his work truly is for everyone.

Where and When

Navy Pier
Polk Bros Park                                                                   
Wednesday, July 26, 2017 at 7:00 p.m.
Thursday, July 27, 2017 at 6:30 p.m.
Friday, July 28, 2017 at 6:30 p.m.​ ​
600 E. Grand Ave.

Ellis Park
Sunday, July 30, 2017 at 4:00 p.m.
3520 S. Cottage Grove Ave.

Gage Park
Wednesday, August 2, 2017 at 6:30 p.m.
2411 W. 55th St.

Kelvyn Park
Thursday, August 3, 2017 at 6:30 p.m.
4438 W. Wrightwood Ave.

Eckhart Park
Friday, August 4, 2017 at 6:30 p.m.
1330 W. Chicago Ave.

Welles Park
Saturday, August 5, 2017 at 6:30 p.m.
Sunday, August 6, 2017 at 4:00 p.m.
2333 W. Sunnyside Ave.

Columbus Park
Tuesday, August 8, 2017 at 6:30 p.m.
500 S. Central Ave.

Tuley Park
Wednesday, August 9, 2017 at 6:30 p.m.
501 E. 90th Pl.

Humboldt Park
Thursday, August 10, 2017 at 6:30 p.m.
Friday, August 11, 2017 at 6:30 p.m.
Near The Boathouse
1301 N. Sacramento Ave.

Frank J. Wilson Park
Saturday, August 12, 2017 at 6:30 p.m.
Sunday, August 13, 2017 at 4:00 p.m.
4630 N. Milwaukee Ave.

Garfield Park
Wednesday, August 16, 2017 at 6:30 p.m.
At Jackson and Central
100 N. Central Park Ave.

Dvorak Park
Thursday, August 17, 2017 at 6:30 p.m.
1119 W. Cullerton St.

Ridge Park
Friday, August 18, 2017 at 6:30 p.m.
Saturday, August 19, 2017 at 6:30 p.m.
1817 W. 96th St.

Steelworkers Park
Sunday, August 20, 2017 at 4:00 p.m.
E. 87th St. at Lake Michigan

Hamilton Park
Wednesday, August 23, 2017 at 6:30 p.m.
513 W. 72nd St.

Piotrowski Park
Thursday, August 24, 2017 at 6:30 p.m.
4247 W. 31st St.

Loyola Park
Friday, August 25, 2017 at 6:30 p.m.
Saturday, August 26, 2017 at 6:30 p.m.
At Farwell Ave. Entrance
1230 W. Greenleaf Ave.

Ping Tom Memorial Park
Sunday, August 27, 2017 at 4:00 p.m.
1700 S. Wentworth Ave.

Access Shakespeare

Chicago Shakespeare strives to make its performances accessible to all patrons. Our staff is ready to help in any way possible. Below are scheduled Access performances for Shakespeare in the Parks Romeo and Juliet:

 ASL Duo-interpreted Performances:

Eckhart Park
Friday, August 4, at 6:30 p.m.
1330 W. Chicago Ave.
Welles Park
Sunday, August 6, at 4:00 p.m.
2333 W. Sunnyside Ave.
Ridge Park
Saturday, August 19, at 6:30 p.m.
1817 W. 96th St.
Hamilton Park
Wednesday, August 23, at 6:30 p.m.
513 W. 72nd St.
Loyola Park
Saturday, Aug 26, at 6:30 p.m.
At Farwell Ave. Entrance
1230 W. Greenleaf Ave.
Ping Tom Park
Sunday, August 27, at 4:00 p.m.
1700 S. Wentworth Ave.
All performances interpreted by Will Lee (NIC) and Elizabeth Bartlow Breslin (CI/CT).

 Audio-described Performances:

Frank J. Wilson Park
Sunday, August 13, at 4:00 p.m.
4630 N. Milwaukee Ave
Described by Jason Harrington
No reservation is required—a section for patrons utilizing the service will be held near the stage.
Assisted listening devices are available for all Shakespeare in the Parks performances at our Welcome Table near the park entrance.
Phone: 312.595.5600
TTY: 312.595.5699
Email: access@chicagoshakes.com

Friday, January 27, 2017

ASL duo-interpreted, Audio described & Open Captioned Performances at Chicago Shakespeare Theater in Feb. & March 2017

Enjoy an Access Shakespeare Performance at Chicago Shakespeare Theater

The Book of Joseph
                                               

Audio described
Sunday, February 12 at 2:00 p.m.
(with optional Touch Tour at 12:00 p.m.)

Open Captioned
Friday, February 24 at 7:30 p.m.


TICKETS AS LOW AS $30
with our “Pay-What-You-Can” Access Shakespeare Program

Every family has its secrets. The Hollander family’s spanned three generations and two continents, from World War II Poland to present-day America, stashed away in a suitcase until their discovery decades later. Purchase your tickets in advance by calling 312.595.5600.

For more information, please visit www.chicagoshakes.com/bookofjoseph.

>>> next.

Enjoy Access Performances at Chicago Shakespeare

Love’s Labor’s Lost

Audio described
Sunday, February 26, 2:00p.m.
(optional Touch Tour at
12:00 p.m.)

ASL duo-interpreted
Friday, March 10, 7:30 p.m.

Open Captioned
Thursday, March 23, 1:00 p.m.
Friday, March 24, 7:30 p.m.


TICKETS AS LOW AS $30
with our “Pay-What-You-Can” Access Shakespeare Program

Prince Ferdinand commits to a “no-fun” edict that requires quiet study for three years. But when the French Princess arrives on his doorstep, witty wordplay and wooing ensue in Shakespeare’s playful romantic comedy. Purchase your tickets in advance by calling 312.595.5600.

For more information, please visit www.chicagoshakes.com/loveslabors.

>>> Next.

Enjoy an Access Performance at Chicago Shakespeare

Short Shakespeare! Romeo and Juliet

ASL duo-interpreted, Audio described & Open captioned
Saturday, March 18 at 11:00 a.m.

$17 Students • $25 Adults

Shakespeare sets Romeo and Juliet, a tale of true love found—and tragically lost—within an endless cycle of hate. This 75-minute adaptation, told in Shakespeare's own words, speaks to today's youth about their own lives. After the performance, audiences are welcome to join the cast for a post-show discussion. Recommended for ages 10 and up.Purchase your tickets in advance by calling 312.595.5600.

For more information, please visit www.chicagoshakes.com/ssromeojuliet.
# # #
For more information on Chicago's Access Shakespeare Theater: https://www.chicagoshakes.com/access

Wednesday, January 25, 2017

'Hamilton' Producers Sued Over Services for Blind Theatergoers

REUTERS -- The producer of "Hamilton" has been sued by a blind theatergoer who claimed that the blockbuster Broadway musical violates federal law by failing to offer services to help blind and visually impaired people enjoy the show.

Article by Jonathan Stempel | January 24,2017       

In his complaint on Monday, Denver resident Mark Lasser said Hamilton Uptown LLC and Nederlander Organization, which runs the Richard Rodgers Theatre in Manhattan where "Hamilton" is performed, could easily provide live audio narratives to help visually impaired people follow stage action between songs.

But Lasser said the theater refuses to offer such narratives, which can be listened to with headphones so other patrons will not be disturbed.

He said this violates the Americans with Disabilities Act, which prohibits discrimination on the basis of disability in places of public accommodation, and "will continue to deter blind and visually impaired people from attending musicals."

The proposed class-action lawsuit was filed in Manhattan federal court. It was reported earlier by The Wall Street Journal.

Nederlander did not immediately respond on Tuesday to requests for comment. Spokesmen for Hamilton Uptown declined to comment. A lawyer for Lasser could not immediately be reached for further comment.

Lasser seeks to require "Hamilton" to put on at least one show per week with at least 25 headsets designed to accommodate visually impaired people.

He noted that former U.S. Attorney General Loretta Lynch on Nov. 21 signed a final rule requiring many movie theaters to provide similar accommodations by late 2018 to blind patrons. (here)

"Given the similarities," the complaint said, "live theaters must also be required to provide live audio description to the blind."

It is unclear why the lawsuit specifically targets the Broadway production of "Hamilton."

The New York law firm representing Lasser specializes in ADA lawsuits.

"Hamilton" tells the story of U.S. founding father Alexander Hamilton in a musical blending, hip-hop and rap, rhythm and blues, ballads and Broadway showstoppers.

It won 11 Tony awards last year, including best musical and best book for creator Lin-Manuel Miranda, who also won a Pulitzer Prize.

The case is Lasser v Nederlander Organization Inc et al, U.S. District Court, Southern District of New York, No. 17-00490.
http://www.reuters.com/article/us-new-york-theater-hamilton-idUSKBN15900N

Wednesday, July 20, 2016

Justice Department Settles with Orpheum Theater in Nebraska to Resolve ADA Discrimination Claims

The Justice Department announced today it has reached an agreement with the Omaha Performing Arts Society (OPAS) resolving an Americans with Disabilities Act (ADA) complaint against the Orpheum Theater in Omaha, Nebraska.
The department alleged that OPAS failed to ensure that, to the maximum extent feasible, the theater provided access to individuals with disabilities as required after the theater underwent a renovation.
“The ADA requires that when doing renovations, public accommodations must ensure their facilities are readily accessible and fully usable by people with disabilities,” said Principal Deputy Assistant Attorney General Vanita Gupta, head of the Justice Department’s Civil Rights Division.  “We commend the Omaha Performing Arts Society for cooperating with the Justice Department and taking quick action to implement the necessary reforms.”
The ADA requires alterations of existing theaters to comply with certain ADA Standards for Accessible Design.  Under the settlement agreement, OPAS will provide 20 wheelchair and companion seating locations and 20 designated aisle accessible seats dispersed throughout the theater.  OPAS will also install a permanent lift to provide an accessible route from the orchestra floor to the stage floor and it will revise its ticketing and pricing policies to afford individuals with disabilities an equal opportunity to purchase accessible seats. 
For more information about the ADA and today’s agreement, individuals may access the ADA web page at www.ada.gov.htm or call the toll-free ADA Information Line at (800) 514-0301 or (800) 514-0383 (TTY).
Settlement Agreement -- Omaha Performing Arts Society
From a Press Release on July 14, 2016 / U.S. Department of Justice

Friday, June 24, 2016

Illinois woman sues Fox Theatre over lack of captioned performances for patrons with hearing impairment

photo of the Fox Theatre
article By Robert Patrick St. Louis Post-Dispatch | June 23, 2016

ST. LOUIS, MO • An Illinois woman filed a federal civil lawsuit against the Fabulous Fox Theatre Wednesday claiming that the theater refused to provide captioning at an upcoming performance for patrons with hearing impairment.

Maria C. "Tina" Childress' lawsuit also seeks class-action status.

Maria Childress, (photo_L) from Champaign, is an avid theater-goer and member of the Association of Late Deafened Adults, which advocates for “greater access through captioning to public places,” the suit says.

Childress became totally deaf at 29 due to an illness, the suit says. Although her cochlear implants allow her to “function normally under ideal circumstances,” she can't fully understand stage dialog or lyrics masked by music, the suit says.

The suit says that some theaters provide captioning for the audience, using the final script synced to the performance and displayed on a small screen or a hand-held device.

When Childress asked the Fox to provide captions for next summer's show “Rent,” Fox refused, and instead offered to schedule a sign language interpreted performance or provide “volume-enhancing assistive-listening devices,” neither of which would work for Childress, the suit says.

The suit says Fox has also not responded to a letter from a Childress lawyer telling them that they were required to provide captioning under the Americans with Disabilities Act.

A Fox representative did not return calls seeking comment.

The suit says that the Association of Late Deafened Adults has successfully fought for captioning equipment in California movie theaters.
http://www.stltoday.com/news/local/crime-and-courts/illinois-woman-sues-fox-theatre-over-lack-of-captioned-performances/article_0d519498-07d1-50f4-9689-41cb96e75581.html

Monday, January 11, 2016

Five tips for creating work with young people with disabilities

1. Think multisensory

Whether preparing a workshop or a performance, run a multisensory check on what you plan. Are you addressing the senses of touch, smell and the kinaesthetic sense, as well as those old theatre standbys of seeing and hearing?

2. Don't paint with a broad brush

Don't think of the audience as some homogenous group. They are not “an audience of children with special needs”. They are a group of complex individuals with a vast range of different attitudes, aptitudes, interests and various communication skills.



3. Observe and improvise

Following on from my previous points, whether you're doing a workshop or performance, above all you need to observe your audience and be able to improvise, responding to what you see. Are you ready to do what you planned slower, faster or completely differently? And are you ready to let your audience in to become co-creators of the piece?

4. Watch the grown-ups

Observe the reactions of any accompanying adults just as closely as those of the children. The adults will almost certainly know the children better than you, and you can often tell just from an accompanying adult's body language whether they think some activity is being well-received by the child – or you are heading for trouble. On the other hand, don't be in thrall to an adult companion's reaction – whether spoken or unspoken.



5. Be wary of labels

In the same way, be wary of the way in which labels such as “autistic spectrum condition” and “profound and multiple learning disability” are used to define people through “the prism of pathology” – concentrating on deficits and impairments. Involvement in a workshop or performance often brings insight into otherwise unregarded facets of a child participant and reveals something of the rich, complex personalities that lie beyond the labelling.
article by by Susan Elkin for The Stage | Jan 11, 2016
Tim Webb co-founded Oily Cart 35 years ago, and has written and directed more than 80 shows for the company that creates work for two audiences: very young children (six months to six years old) and young people with complex disabilities. Webb has worked as an actor, writer and director at theatres large and small throughout the UK. His scripts have been produced at Leicester’s Haymarket Theatre, London’s Albany Empire (formally on the site of the Albany), and Manchester’s Contact, and by theatre in education companies in Greenwich, Glasgow and Leeds. He has directed productions for Belfast’s Lyric Theatre, the London Bubble Theatre Company, Glasgow’s Giant Productions, Canada’s Carousel Players and the Chicago Children’s Theatre. Here are his tips for creators of work for young people with impairments.
https://www.thestage.co.uk/advice/2016/tim-webb-five-tips-for-creating-work-with-young-people-with-disabilities/

Thursday, October 15, 2015

Broadway In Sign Language - 'Spring Awakening'

photo: In the new Deaf West production of Spring Awakening, the deaf lead actors have doubles in the background who speak and sing for them, and everyone signs..Joan Marcus
article by Neda Ulaby for NPR | Oct. 13, 2015
One of the best-reviewed shows on Broadway right now is a revival of a musical that closed there only six years ago. Spring Awakening is based on a play about German teenagers in the 1890s. Part dark morality play, part rock opera, the musical swept the 2007 Tony awards and made TV stars of its two main leads, Leah Michele (of Glee) and Jonathan Groff (of Looking).

The current revival, by Deaf West, features a mix of hearing and deaf actors. But everyone signs, throughout the entire show. The deaf lead actors are shadowed by doubles, hearing actors who voice their roles. But the doubles mostly remain discreetly in the background, to focus attention on the deaf actors. Still, they look at each other, egg each other on, and comfort each other. Somehow, this adds an entirely new dimension to the show — it's as if you can see each characters' subconscious.

"I loved it," says writer Sara Novic, who is deaf. "I cried at the end. I really cried."

Novic has seen plenty of plays where sign language interpreters are stuck on the side of the stage. That means to see them, deaf audience members have to sit on the side too.

"And you kind of look at the interpreter, and through the interpreter, back and forth a lot," she says. "Subtitles are easier." Novic means subtitles are less distracting than good interpreters' expressive performances. Novic had never before seen a mainstream show that assumes deaf audiences are as valuable as hearing ones.

"It felt awesome," she says.

This revival was directed by Michael Arden, a hearing actor with a long history with Deaf West. Arden feels that Spring Awakening's story lends itself to a reinterpretation with deaf characters. After all, it's about a tragic failure of communication — and people being made to feel their bodies are wrong and bad. And it resonates historically. In 1880, 10 years before the play is set, a huge international conference on deaf education in Milan affected deaf culture for generations.

"It was decided, after much deliberation, that the only way deaf students could be fully integrated into society would be if they learned to speak, read lips and notsign," Arden explains. "All sign language [was] banned in schools worldwide."

That's reflected in this staging of the musical. In it, deaf students are punished for signing and painfully forced to vocalize. And it comes out too when a hearing mother attempts to tell her deaf daughter about sex.

"The actor who is Wendla's mom is signing in this clunky way," Novic says. That underscores the chasm of communication between them. As the mother (played by Camryn Manheim) fumbles her way through her explanation, she signs a triangle: Thumbs together, forefingers pointing down in her lap.

"She signs 'vagina,' " Novic explains. "But really quickly, she moves it up to her chest so it looks like a heart," leaving Wendla baffled and with a critical lack of information. It's a literal sign of the repression that sets the musical's main tragedy in motion.

The character is surrounded by a coterie of girlfriends, one of whom happens to be in a wheelchair. She's played by Ali Stroker, the first person in a wheelchair to appear on Broadway. "I was in a car accident when I was 2 years old and became paralyzed from the chest down," she says.

Other actors have played characters in wheelchairs, or performed in them while temporarily injured. Stroker is also the first wheelchair user to graduate from NYU's Tisch School of Drama. Her dressing room had to be modified for her. The Brooks Atkinson Theater was built in 1926, long before the Americans with Disabilities Act. Even its stage is treacherously uneven, which took Stroker by surprise during the first rehearsal.

"I'm signing, and my hands are off my wheels" she remembers with a laugh. "And all of a sudden, I'm like ... rolling away!"

Now, another actor holds her wheelchair at that point — one of many ways the cast depends on each other, says actor Andy Mientus. He knows Spring Awakening very well — he was also in the first national tour of the original production. For the revival, Mientus had to learn how to synchronize with his deaf cast mates.

"There's hundreds of internal cues in the show," he says. "There's an unseen tap on the shoulder or flick of a light that lets the deaf actor know where we are in the music."

And that makes the cast focus in a way that's unusual. "You have to look at each other when you're signing," says Arden. "It forces actors to actually play a scene together, rather than playing their own scene."

Arden experienced this himself when he was trying out for the role of Tom Sawyer in Deaf West's production of Big River more than 10 years ago. "I walked into an audition room never having met a deaf person," he recalls. He was nervous upon meeting the deaf actor playing Huck Finn. Two interpreters joined them.

"And we were able to just look at each other and play this scene. And I was so moved by that ..." Here Arden chokes up, even more than a decade later. "The first time sharing this art form with someone from a culture I thought I could never share it with."

It's emotional work, to find a musical's voice with mouth and hands. And it's not a compromise, Arden says. It can make it better.