When it comes to theatre, people fall into one of three groups:

• Theatre-less: Theatre-going is off their radar, and outside their interests.  Any participation in theatre is accidental and fleeting.
• Dabblers:  Occasionally attend live theatre, depending on the subject area.  May not initiate a theatre outing – but, goes along if asked.
• Theatre Lovers: Interested in theatre for the art of it. Will attend performances of unfamiliar works for the benefit of seeing more live theatre. Drags friends to shows – or goes alone if they all beg off.

Exposure to theatre over time is essential to developing an ongoing interest in live theatre.  With regular attendance at a variety of theatre productions, a theatre fan begins to understand a variety of genres, and learns the norms of performance structure and audience participation.

Historically, theatre has not been fully accessible to Deaf patrons. Why then, should Deaf people be interested in theatre in the first place? If you never overheard others talk about West Side Story, Cabaret, or RENT, then why would these shows mean much to you? And, if you tried to see a show, but could only see the action without understanding the dialogue, would you come back for more? Probably not.

The Deaf community must be cultivated like any other. A surprising number of theatres conduct little or no marketing of interpreted performances, yet are shocked by poor Deaf attendance.  Special advertising, marketing events and partnerships with local Deaf organizations and schools should all be a part of an overall outreach plan. 

Audience Development Tips

The following steps, taken singularly or in tandem, increase audience participation:

• develop a logo to indicate interpreted performances
• install a TDD/TTY in the box office
• note interpreted performances in all advertising
• develop a special mailing list for Deaf audiences
• advertise in local publications targeting the Deaf community and interpreters
• use the 'interpreter spin' to get news crews to talk about the production
• tour the interpreters and actors to local Deaf events and clubs, to perform a portion of the show
• develop an audience development project that provides patron education
• conduct surveys of the Deaf audience to understand how the experience can be improved

Interpreting is a profession like any other, and interpreters expect to be compensated fairly for their efforts. Just how much an interpreter charges for services, however, can vary depending on the skill and/or certification of the interpreter, the nature of the assignment, and other factors.

Generally, interpreters charge an hourly rate. However, interpreting in the theatre is a unique case, and many specialists charge a flat rate. Consider, for example, that a pair of interpreters may spend 100 hours each preparing for and performing a complicated musical production. If their hourly rate is a very modest $25, then the total fees for one production is $5,000 - a bit more than most theatres expect to pay.

Interpreters who specialize in theatre vary in their fee schedules: some charge a flat rate for everything (rehearsals, performance(s), mileage, etc.), while others charge one rate for rehearsal time, and another for each performance.

Seasoned theatre interpreters generally spend a great deal of time preparing for a performance, and expect a commensurate level of compensation. When an interpreter offers a cut-rate fee, it is usually an indication of two things: the interpreter is new to the business, and doesn't know how much work it is going to be; or the interpreter doesn't plan on doing much preparation, and just wants to get on stage.

When considering what makes a reasonable fee, theatre producers and interpreters should account for not only rehearsal and performance time, but for the interpreter’s other business expenses. These include travel, accounting, wardrobe/rehearsal attire, make-up, training, and other expenses.

In addition to payment, the theatre producer should expect to offer other accommodations the interpreters that they typically offer to actors. These include: comp tickets, dressing room space, program credit, compensation for excessive travel requirements, etc.

Note: the author of this Web site is not an attorney. The following information is provided based on his experience. Consult an attorney or the Department of Justice for more information about the legal requirements associated with accessibility.

With the passing of the Americans with Disabilities Act in 1990, business and service providers throughout the United States are mandated to ensure access to goods and services by people with disabilities. Often, ADA compliance efforts are focused on removing barriers to access for individuals with mobility concerns. These solutions usually include installation of elevators, ramps, handrails, curb cuts, etc.

However, the ADA also requires accessibility for individuals with vision and hearing impairments. Since the accommodation needs of people with hearing loss vary, the theatre venue should consider the various of accommodations potentially required by patrons:

• Amplification: some people with hearing loss may have the ability to hear some sound with the assistance of amplification. These individuals often refer to themselves as "hard of hearing" or "hearing impaired," and often do not know sign language. Theatres usually accommodate hearing aid users by providing FM or infrared amplification devices that help pipe sound from the theatre's sound system directly into the patron's hearing aid.
  
• Interpreters: many people with hearing loss do not benefit from amplification, and use American Sign Language (ASL) as their primary method of communication. Generally, ASL users refer to themselves as Deaf. For these patrons, interpreters provide the only source of information about dialogue, music, and other stage sounds. Some Deaf patrons may consider using an amplification device in addition to interpreters.

Generally speaking, the ADA requires that a venue provide reasonable accommodation to people with disabilities. These issues of venue and "reasonable accommodation," are important considerations for theatres.

When the production company and venue are the same - for example, in regional theatres - the responsible party is not in question. However, when the Fisher Theatre in Detroit brings in a touring company of Damn Yankees, for example, it is generally accepted that it is the Fisher Theatre's responsibility to contract with the interpreters. In some cases, the production company rents the venue and control all ticket sales; here, payment for interpreters generally falls to the production company.

Also, the law's requirement of "reasonable accommodation" is often used as a loophole to claim financial or other hardship with respect to providing accessible services to people with disabilities. And, while a small, local theatre may be able to claim that the installation of a $100,000 elevator might cause irreparable fiscal harm, the provision of interpreted performances generally are considered reasonable.