Fans of innovative theater will thoroughly enjoy NYC’s most recent transplant At The Hand of My Mother currently playing at Powerplant Productions in Old City. At The Hand of My Mother tells the story of a deaf Oralist community in Ireland at two moments in its history. The 19th century story line reveals the stark reality of hearing culture’s attitude towards the deaf—refused permission to sign and forced to learn to speak through strict Oralist training. A second contemporary story line represents the modern equivalent: the choices those born deaf must make at a time when technology offers the seemingly miraculous gift of hearing through cochlear implant and its impact on deaf family and community. Each story line confronts the subtle prejudices exposed when hearing and deaf communities collide, in this case ending in violence. At the Hand of My Mothers offers an intense journey into the past and present that begs the question: While the Oralist tradition would seem abusive by modern standards, when present day deaf children are encouraged to undergo invasive surgical procedures to receive cochlear implants to better "participate" in hearing culture (often giving up deaf culture as a result) how much has changed? At The Hand of My Mother examines themes of acceptance and difference, the struggle for rights and recognition; and the impact on family of origin and chosen community in ways that will be resonant with members of the queer community and our allies.

At The Hand of My Mother is an Advanced Theater Workshop presented in repertory by Ward Studios and was originally written and directed by Wendy Ward in NY. I hesitate to call this a "workshop." Masterclass performance might be more apt. The purposeful stark and simple set demands that each actor deliver. Transitions between story lines are filled with multi-media snapshots of interstitial moments, a visual history of the Oralist tradition, and the Deaf rights movement. (Full disclosure: I filmed one of the visual sequences that appears in the play and have studied with Ward Studio.) But these visual tools enhance our comprehension. At its heart, this work focuses on performance. At The Hand of My Mother shines with a strong ensemble of established and emerging talent.

In At the Hand of My Mother, the "dialogue" shifts between spoken and signed language drawing us even deeper into this world, as there is no interruption for a technical or separate interpreter that would otherwise threaten to distance us from the action. As a hearing person, I was struck by how comprehensible scenes were even the few that were completely in ASL, despite my lack of facility. I found myself leaning in, engaged soaking up the actor’s expressions and body language, comprehending as if I did know sign. The seating itself further thrusts the audience into the action, as the seats line two sides of the stage unlike more conventional theater productions. I couldn’t help but feel like silent witness to the action, focusing my attention on the actors and creating a sense of unspoken intimacy. The piece required its cast to learn the hand bells in addition to ASL. The hand bell choir ensemble performance and the comedic events leading it up was a clear highlight.

This served to lighten and balance the more intense elements of the show that featured a series of strong performances by its cast.

Nancy Ellis plays Margaret Dooley/Mother Emmanuel and commands attention in twin roles clearly written to be scene stealers. As Margaret Dooley, Ellis plays a deaf mother who fears losing her daughter to the hearing world. As Mother Emmanuel, she demands her deaf charges adapt to fit in with 19th century hearing culture by enforcing strict rules of conduct and demanding speech from her deaf charges. Ms. Ellis lays down the gauntlet with her performances and her fellow actors accept this challenge. Whether in the role of Margaret Dooley or Mother Emmanuel this is the character you love to hate, but yet she offers such moments of humanity that I found compassion for her nonetheless. A veteran of TV and stage, Ms. Ellis was most recently in Ego Po Classic Theater’s Artaud Unbound.

Annette Kaplafka as Moyra/Sister Irene provides a nuanced and poignant performance. As Moyra, Kaplafka plays a 19th century deaf woman who appears doomed to spend her life in the confines of a convent under the strict hand of what I could only call abusive Oralist training and practices despite their well meaning intent. As Sister Irene in present day Ireland, Kapflaka is like the light through the vanishing rose windows in so many churches. She is the voice of compassion and loving kindness in a world that appears increasingly twisted by judgment and intolerance of difference. Also a veteran of stage and screen, Kaplafka recently played opposite Leah Thompson in Mayor Cupcake. She has previously toured nationally in the role of Dorothy in The Wizard of Oz.

Linda Schapley offers a brave performance in the roles of Kathleen Doyle/Sister Mary Frances. Ellis as Mother Emmanuel/Kathleen Doyle could not dominate the stage without Schapley’s commitment to playing her twin flawed and failing characters. As Kathleen Doyle, Schapley offers us a lawyer of last resort, the only Public Defender who knows sign in all of Ireland, and one who is perennially late to the frustration of her unyielding client. As Sister Mary Frances, her narrow minded and fearful portrayal allows us to find a grudging sense of compassion for Mother Emmanuel and cheer the successes of their deaf charges. Schapley has appeared in a variety of recent and local theater productions such as All My Sons at the Burlington Co. Footlighters.

Jenna Leigh as Christy/Caitlin shines in her role as ingénue and quiet motivator of the story, as the conflict and action in both story lines are triggered by her movement from the deaf world to the hearing one and back again. Leigh infuses each role with a sense of vulnerability and charm. By turns as both Christy and Caitlin she evokes the fragility of young adulthood coupled with is surprising strength in the face of adversity. Leigh is a relative newcomer to professional theater, having graduated with a BFA in Theater from Temple University where she appeared in numerous productions. She has also performed with the improv group, King Friday.

J. Rudy Flesher as Nevan/Douglas brings a warmth, charm and mischievousness in a surprising performance for a relative newcomer. As Nevan, Flesher offers a convincing turn as a cognitively challenged deaf janitor and as Douglas, the alcohol loving trickster. In each role, Flesher provides the strong supporting performance. He creates a welcome comic foil to the other characters, whether via the simple goodness as Douglas and his undermining of rule and authority behind the scenes as Nevan. These moments offer respite, light and humor to the more intense moment of the play giving us the ability to dive deeply into its more intense moments. PhillyGayCalender readers will recognize Flesher aka The Notorious O.M.G. as emcee at large for such shows as Pussy Faggot, a variety of local burlesque shows, and as a part of his home troupe, the Philly-based, Liberty City Kings.

Tom Stackhouse as Prison Guard/Prosecutor offers a capable performance in his two supporting roles. He holds his ground which is exactly what each role requires of him in his Philly stage debut.

Director, Wendy Ward has previously won acclaim for her innovative theatrical productions in New York. Her production of I Wish You A Boat received two nominations for the New York Innovative Theater Awards. Ward’s productions consistently dare audiences to look unflinchingly into lives and times where we might prefer to leave the curtain undrawn. Ward is also the founder of Ward Studios, which offers a comprehensive foundation in the Meisner Technique approach to acting. Ward began at The Acting Studio in NY where she was the Assistant Director under James Price. Ward teaches acting internationally and has been training actors, many of whom have gone on to acclaimed careers in stage, TV, and film, for more than 20 years. She has recently moved her studio to Philadelphia.

At The Hand of My Mother runs at Power Plant Productions until May 20th with evening shows Tuesday through Sunday and matinees on Saturday. Check website for times and tickets. This run has already garnered multiple sold out shows, so it’s best to get your tickets in advance. To inquire about tickets, click here. It’s also a good idea to be a few minutes early, due to the intimate seating plan, which doesn’t allow latecomer to be seated.

Fans of innovative theater and good acting won’t want to miss this one. You might just find yourself inspired to step out into the limelight yourself. And if you prefer to remain a bystander, Ward Studios has just announced a new play debuting this August. As always here at PGC, we’re dedicated to giving you the details about what’s new and worth checking out in the Arts and Culture scene here in Philly. So stay tuned for details.

Wendy Ward of Ward Studios offers foundation training in acting in the Meisner Technique. For more information about classes and upcoming productions, please visit www.wardstudio.com.