Image description: A screenshot of a Zoom call with the cast of The Madwoman of Chaillot. They are a group of people diverse in age, race, and genders, and they are all smiling and holding different kinds of daisies in frame. End of description.
“Nothing is ever so wrong in this world
that a sensible woman can’t set it right
in the course of an afternoon.”
— Countess Aurelia, The Madwoman of Chaillot
by Jean Giraudoux, adapted by Maurice Valency
We at Sound Theatre are deeply disappointed to announce that we will not be presenting our accessible, digital production of The Madwoman of Chaillot as planned for May 2021.
Last month, we were beginning the process of filming a diverse company (including BIPOC, Deaf, and disabled actors) when we were informed by the licensing agency that they had failed to secure the digital performance rights with the author’s estate before granting those rights to us in a contract we received in November 2020. We were not at fault. Nonetheless, it became clear that we would need to cease the creation of our innovative digital production.
Our Production
In 2019, we had planned and received the rights to produce an August 2020 stage run of MADWOMAN as part of our 2020 season theme, “Return the Power.” When COVID-19 shuttered stages, we pivoted by applying for the digital rights to produce The Madwoman of Chaillot via streaming platform in Spring 2021.
The cast featured 20 actors, headlined by Seattle phenom Rebecca M. Davis as the lead (Countess Aurelia) and renowned Deaf actor Howie Seago (as the iconic Ragpicker). The ensemble featured local luminaries including Kathy Hsieh, Rose Cano, Dimitri Woods, Aimee Chou, Carolyn Agee, Ken Michels, Andrew Litzky, Llysa Holland, Bob Williams, Kai Winchester, Brittany Rupik, Neve Mazique, Reggie Scott, Carolyn Marie Monroe, Sydney Maltese, Jacob Merz, Nick Rempel, and Jason Treviño. The Madwoman of Chaillot was directed by Teresa Thuman, and Amelia Hensley served as the Director of Artistic Sign Language. Steven Tran composed original music and Andrea Kovich served as dramaturg.
As part of Sound Theatre’s most ambitious digital pivot to date, this production utilized green screens and film recording techniques, bringing in a different breed of artists to our theatrical ranks: Film editors.
We were also honored to collaborate with the powerhouses at Visionaries of the Creative Arts (VOCA), a BIPOC Deaf theatre company in Washington, D.C.
Also crucial this ambitious production: a five-person production team (stage managers Jessamyn Bateman-Iino, Emma Hagerman, Grecia Leal Pardo; and production managers Malie Fujii and Alyda Sorm), a creative design team (Jared Norman, Robin Macartney, Josh Valdez, Janelle Kimbrough, Natalie Shih), plus a team of ASL interpreters essential to Sound Theatre’s access-centered social justice mission.
The Impact
This large investment of financial and human resources – the time, energy and creative imaginations of the company – will not result in a production to share with our community. But all is not lost.
A large new company bonded over Zoom. We expanded and centered accessibility in this new paradigm with weekly ASL workshops (led by Deaf instructors) as well as the creation of ASL-only affinity spaces. Production manager Malie Fujii created an extensive anti-oppressive rehearsal schedule that will inform our schedules into the future. All of this occurred during a vital time of redefining pandemic theatre, as we took a deep look into a classic comedy from a very contemporary, inclusive lens.
Once again, we pause.
But although the show cannot go on, our mission does. Sound Theatre is currently refocusing the remaining year’s programming, exploring how best to bring the work of our mission to life: empowering artists to give voice to the dignity and diversity of the human experience.
As we navigate the aftermath of this unexpected pivot (once again), we ask our communities and fellow theatre artists to embrace the spirit of The Madwoman of Chaillot in the meantime:
Look to womxn of color as leaders, seek out Deaf/disabled theatre experiences, and celebrate the authentic stories of individuals different from yourself.
We hope you will continue to support Sound Theatre Company in our mission creating theatre that centers and empower artists. Now is a crucial time to support Sound Theatre in our mission, particularly as we recoup the losses from the cancellation. Please consider supporting our work by “buying a ticket” that you might have bought if we had done the production.