This summer, Brian Cheslik, the artistic director of the Deaf Austin Theater, is bringing the acclaimed musical A Strange Loop to deaf and hard of hearing audiences in the District.
Cheslik was inspired to create a Deaf-inclusive version of the production after experiencing the show on Broadway three years ago.
He shared that the musical’s bold emotional impact left him reflecting on the need for greater accessibility in theater, particularly for the Deaf community.
The performance will take place from July 23 to August 10 at the Atlas Performing Arts Center before moving to Austin, Texas, from August 28 to September 14.
A Strange Loop, written by Michael R. Jackson, tells the story of Usher, a young, Black, queer writer who works as a Broadway usher while navigating self-doubt and identity issues.
As Usher grapples with his art and self-worth, actors portray his intrusive thoughts, guiding him through a complex loop of self-exploration.
The show premiered off-Broadway in 2019, won a Pulitzer Prize in 2020, and had a successful run in the District for six weeks in 2021 before moving to Broadway in 2022, where it received two Tony Awards.
Cheslik’s collaboration with Visionaries of the Creative Arts (VOCA), a D.C.-based nonprofit focused on gathering Deaf and hard of hearing BIPOC artists, aims to make this production accessible to a wider audience.
The partnership marks a significant milestone as it involves the first collaboration between two Deaf theaters in the United States.
Cheslik first encountered A Strange Loop in the fall of 2022 after hearing about its critical acclaim.
Without prior knowledge of the soundtrack or plot, he was deeply moved by the raw power and soul of Jackson’s narrative.
This inspiration motivated him to ensure that Deaf audiences could experience the show’s transformative storytelling—an opportunity he felt was often lacking in theater.
Researching Jackson’s original monologue, “Why Can’t I Get Work,” which reflects the author’s struggles as a Black, gay man in New York, resonated with Cheslik’s own challenges finding work as a Deaf individual in the theater community.
He expressed a desire to change the narrative, similar to Jackson’s approach, emphasizing the importance of representation and accessibility in the arts.
Cheslik pointed out that traditional theater often provides limited access, typically offering only a single performance with ASL interpreters or caption systems, leaving Deaf attendees to choose between these options.
His partnership with VOCA signifies a commitment to amplifying marginalized voices, especially among the Black Deaf community.
Recent events, such as the lack of American Sign Language interpreters at White House Press briefings and ongoing debates around diversity, equity, and inclusion, have galvanized both organizations to continue promoting powerful art and diverse narratives.
“We will continue to make meaningful art and powerful art. You cannot control the narrative,” Cheslik proclaimed.
Alexandria Wailes, the director and choreographer of the production, echoes this sentiment, highlighting the exploration of intersectionality within A Strange Loop.
With identity aspects like race and sexuality at the forefront, the addition of a Deaf perspective enhances the story’s depth and complexity.
This production marks an important first: a Deaf actor will take on the role of Usher, with the entire cast and crew consisting of Deaf, hard of hearing, and hearing individuals.
Wailes noted that the musical’s focus on community and individuality resonates with the incorporation of ASL, providing a unique lens through which the internal conflicts and interactions of characters can be explored.
Financial constraints have recently affected arts funding through the National Endowment for the Arts, prompting the team to adapt and ensure the production aligns with its community-oriented values.
“We’re acknowledging and figuring out how we show up, how we stand out, how we support each other, and what community means to us,” Wailes stated.
Gabriel Silva, who is now portraying Usher, described the rehearsal process as a “beautiful, wild ride.”
Initially cast in a supporting role representing one of Usher’s internal voices, they have embraced the leading role as production dynamics evolved.
Silva emphasized the importance of marginalized voices being represented, both onstage and in the audience, and framed the experience as an opportunity to foster peace through creative expression.
“It’s just been a really beautiful opportunity to come together to make this show a success,” Silva remarked.
Michelle Banks, the Artistic Director of VOCA and producer of A Strange Loop, revealed that the collaboration with Cheslik and Deaf Austin Theater stemmed from a mutual vision to uplift Deaf and BIPOC stories in theater.
She acknowledged the challenges the cast faces in synchronizing lines with both spoken English and ASL while ensuring a cohesive performance.
“I see a great team of creatives working together and collaborating, and it seems like a family to me,” Banks shared, highlighting the exploratory dynamic among the cast as they relate to their characters.
Moreover, Banks affirmed the significance of the story, emphasizing its role in amplifying voices from the Deaf and BIPOC communities that are often marginalized in mainstream media.
She noted that the production serves as a bridge to facilitate understanding of the Deaf community and Deaf culture.
“We all belong, and we all have similar experiences that happen in life. Both hearing and Deaf people have experienced different adversities, and whether you can hear or you can’t hear, it’s all the same,” Banks concluded.
A Strange Loop promises to be an enlightening and transformative artistic event that fosters dialogue about accessibility, representation, and the complexities of identity in today’s society.
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