Interpreting Dreadnought’s production of ‘The Cause’, touring throughout the South West, has sadly now come to an end. It is as they say ‘all good things come to an end’ – and it was, a very good thing! Both in terms (of course) that access to theatre for people who use BSL as their first language, but equally for me as an opportunity to interpret in theatre again. It was extraordinary for me this time that I also had the privilege of interpreting the play more than once because I travelled with the Dreadnought crew to four of their touring locations in Devon and Cornwall. Interpreting a play more than once is a dream for many theatre interpreters as they will have the opportunity to evaluate their work and improve upon anything ready for the next show.
I used my time wisely and invited my mentor to the first performance in South Devon, so I had two sets of eyes (mine and hers) to evaluate my interpretation. Whilst it is very kind for people to say that I looked ‘very good’, these aren’t always reliable sources of feedback due to the nature of their comments – usually they are trying to be kind, or they might not understand BSL to make any meaningful comments (although, always nice to be told that I am doing a good job!) Another set of eyes (my mentor) meant that I not only avoid the risk of ‘head in the clouds’ attitude that all is OK and nothing needs to be changed, but more so to stop me from being too critical on myself and having more of a constructive view to work from.
I was also very fortunate that the attitude from Dreadnought was very flexible and open minded when it came to including a BSL interpreter into their performances. They made it very clear from the start that they did not want it to be just a token gesture, but also something for them to learn from so that they will have more of an understanding of how to make their performances accessible in the future. Their flexibility included having numerous meetings with the director and writer of the play to discuss my positioning on stage and the resources I needed from them in order to start prepping the play effectively. Among many other things, this included having early access to the script; a filmed performance for me to have available at home; complementary tickets to as many performances to help me understand the concept of the play and characterisation. I was also invited to the rehearsals, where I could stand and have an open dialogue with the actors in what they thought might work well.
Whilst the above might seem standard to what you would expect an interpreter would need in order to help prepare for a theatre production, these things aren’t always available. This can depend on things such as the attitude of the director, i.e. they’ve been told they are having an interpreter in their play, rather than them seeking to make their play more inclusive. This can sometimes lead to challenging discussions about where they want the interpreter to stand on stage and where I believe it would be more beneficial to the deaf audience. It can also be linked to time constraints in that an interpreter is sometimes not sourced until a couple of weeks before the scheduled performance. It was a luxury that I was given the script and met with Dreadnought in spring this year and the BSL interpreted performances did not start until autumn.
Having more than one performance date I believe helped me to improve as the performances toured in and around Devon and Cornwall. Whilst it is always important to self-reflect after interpreting assignments – particularly theatre work to think about what I could do differently next time for a different show – I actually had the opportunity to have a ‘next time’ for the same play.