Roundabout and Hands On have given deaf patrons a home for years.

"Roundabout was the first—and may be the only—theatre in the world that actually offers a subscription series to deaf audiences," says Beth Prevor. She’s a former stage manager who, with three other women, founded Hands On more than 20 years ago. The all-volunteer organization provides not-for-profit theatres with American Sign Language-certified interpreters so deaf audiences can understand what’s happening onstage.

That’s why when Deaf West’s production of Big River floats into the American Airlines Theatre this summer it won’t be the first time some Roundabout audiences have encountered ASL interpreters. Thanks to Hands On, every show the Roundabout produces offers deaf and hard-of-hearing theatergoers specific performances that are translated into ASL’s unique and expressive physical vernacular.

Hands On currently provides signed performances for about 25 to 30 productions in New York City each season. Its other clients include Manhattan Theatre Club and New Victory Theatre, as well as Madison Square Garden’s A Christmas Carol and Radio City’s Christmas show. But Roundabout’s subscription series still seems like a dream come true to Prevor. "It was Ellen Richard’s idea," as she remembers. "It’s kind of astounding, but it’s helped create an audience for theatre in the deaf community that wasn’t really there when we first began."

Unlike Big River, which incorporates ASL into the action of the play as some characters sign onstage and others speak or sing, a Hands On interpreted performance places its translators in the house. The organization employs a skilled group of "semi-actors" who work hard to create each sign-interpreted show. "Their job is not to be the performers or actors," says Prevor. "Their job is to take the audience to the stage and back again—they’re a conduit."

The process begins when interpreters get a script and do a cast breakdown. For example, with Nine, Hands On uses one male and two females: the man plays Guido and the two women trade off all the distaff roles.

They first rehearse with the text away from the theatre, then they attend the show five or six times, eventually standing at the back of the orchestra and doing run-throughs, perfecting the translation. "We try to get a deaf person to come in as an advisor and make suggestions. Little things are important. Sometimes they’ll finish a line before it’s spoken so the focus can return to the stage in time for important stage business."

The most important service, perhaps, that Hands On offers is a chance for the deaf community, which is very tight-knit, to socialize. Theatre performances become great opportunities to renew acquaintances and catch up with friends. For most, it’s a more rewarding way to make personal connections than by sitting home with telephone teletypers.

When Big River first opened in Los Angeles, the production created a great buzz in the deaf community. The fact it will be seen at Roundabout’s American Airlines Theatre makes its New York incarnation all the more anticipated. As Prevor notes, "Deaf theatergoers will be going somewhere they are comfortable with. I was thrilled to hear Roundabout was the producer."-J.I.

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