Much as I might like to agree that DWT is “the perfect company,” I am not so sure the trans-Atlantic and trans-ability transformation of Thorne’s play entirely works. The relationship between a hearing and a Deaf person is inherently different from one between two hearing or two Deaf persons. I don’t mean emotionally, for disability of almost any kind still allows for a full range of human responses. But technical details of negotiating the differences are reflected in the text itself, which doesn’t match up with what we are seeing and hearing. Phil’s character, in particular, is the problematic one. There are residues in the script of Phil struggling to communicate with the Deaf Alice—he calls himself a good lipreader, for example, and he chooses an LP recording to play at Alice’s apartment on their first sex date. So one can only wonder how he could become so quickly and so competently expressive in ASL until we realize, oh, yeah, in this production, he’s supposed to be Deaf, too.