COVID-19 Theater Series: Deaf West Theatre Broadens our Horizons - An Interview with David J. Kurs


Having grown up in a deaf family in Riverside, California, it was no surprise that David J. Kurs became interested in theater performed in American Sign Language (ASL) early on. His passion for the power of the arts was realized when in 2009 he joined the Deaf West Theatre (DWT), founded in 1991 by Ed Waterstreet. Upon Waterstreet’s retirement in 2012, he became the second artistic director in the history of the company. Prior to becoming artistic director, Kurs wrote and produced Aesop Who?, a multimedia show for young audiences, and served as associate producer and ASL master for Deaf West’s productions of Children of a Lesser God (2009), My Sister in this House (2010), and The Adventures of Pinocchio (2011). To quote Kurs: “Deaf West has had a great impact on me in my artistic development, and I can only hope to spread this passion on to others and to create opportunities for them so that we all can achieve a shared goal of artistic growth.” In 2020, he was named “Deaf Person of the Month” by DeafPeople.com. David took time from his busy schedule to interview in May 2020.


Daniel Durant and Natasha Ofili in "Orphee" - Photo by Brandon Simmoneau

When and how did Deaf West Theatre first form? Were you there from the beginning? What are some of the most popular shows you presented? Have you received any rewards? 

David J. Kurs:  Deaf West Theatre (DWT) was founded in Los Angeles in 1991 by deaf actors. Our theater engages artists and audiences in unparalleled theater experiences inspired by deaf culture and the expressive power of sign language. We weave American Sign Language (ASL) with spoken English to create a seamless ballet of movement and voice. Committed to innovation, collaboration, and training, DWT is the artistic bridge between the deaf and hearing worlds.

Recent and past productions include Jean Cocteau’s Orphée, The Solid Life of Sugar Water by Jack Thorne, and Thornton Wilder’s Our Town, a co-production with the Pasadena Playhouse. In co-productions with the Wallis Annenberg Center for the Performing Arts, we also presented Edward Albee's At Home at the Zoo. The Deaf West production of Spring Awakening transferred from a small 99-seat theater to the Wallis and then to Broadway, where we received three Tony Award nominations in 2016. American Buffalo was named the Los Angeles Times “Critic’s Choice.” In a co-production with the Fountain Theatre, we also presented Cyrano, which won the Los Angeles Drama Critics Circle Award for outstanding production. Big River won the Los Angeles Drama Critics Circle and Backstage Garland Awards for best musical in its Los Angeles premiere, as well as a Tony nomination and four Drama Desk Awards on Broadway. In a co-production with Center Theatre Group, DWT produced Pippin, which was presented at the Mark Taper Forum, and Sleeping Beauty Wakes, produced at the Kirk Douglas Theatre. Oliver! won the Ovation Award for best musical, and A Streetcar Named Desire won the Ovation Award for best play. In 2005, the Secretary of Health and Human Services selected DWT to receive the highest recognition award for its “distinguished contributions to improve and enrich the culture lives of deaf and hard of hearing actors and theater patrons.”

I have attended DWT shows since the company’s inception when I was in high school. I began working with the theater in 2009 and succeeded our founding artistic director Ed Waterstreet as artistic director in 2012.

Daniel Durant, Eddie Buck, Troy Kotsur, Ipek D. Mehlum, and Maleni Chaitoo in "Cyrano" - Photo by Ed Krieger

When did you close the theater for COVID-19? Were you in the middle of a run?

DJK:  We opened and closed our new production, Jean Cocteau’s Orphée, on the same night. It was heartbreaking; but, in retrospect, I am thankful that everyone is safe. My heart goes out to the actors, designers, and creatives who labored so mightily and valiantly to bring together an exemplary show that was seen by so few. The memory of coming together with the company in the empty theater after the curtain will remain in my heart for a long time.

How has the COVID-19 shutdown impacted your theater?

DJK:  We had to cancel our run of our play on the first night, as well as a planned tour to Tokyo. We also cancelled a planned fall show. Other than readings and workshops, we don’t have anything on the calendar for another year. But I’m still hoping that we’ll get back onstage before then.

Sandra Mae Frank, Treshelle Edmond, Natacha Roi, Katie Boeck, Lauren Patten, Amelia Hensley, Alexandra Winter, and Ali Stroker in "Spring Awakening" - Photo by Tate Tullier

Are you doing anything right now to keep your live theater going? Are you streaming? Do you have virtual meetings? Are you planning for your next show when the theater can reopen?

DJK:  We are staying in touch every day, mainly on Zoom. We collaborated with NBC on an episode of Zoey’s Extraordinary Playlist that premiered a few weeks ago, and it was extremely gratifying to see the love and praise from the community. We also collaborated with Kelly Clarkson and helped create a community-sourced video for her latest song, “I Dare You.” It’s a blessing to be able to generate work for all of the actors from our community during these times, and we’re not going to stop. We’re also working on several digital projects, including a full production to be streamed.

Nick Apostolina, Natalie Camunas, Sandra Mae Frank, and Tad Cooley in "The Solid Life of Sugar Water" - Photo by Brandon Simmoneau

What do you think the impact of COVID-19 will be on live theater in general in Los Angeles? Do you foresee any permanent changes?

DJK:  It is my observation that theatergoers in Los Angeles are creatures of habit. Once we emerge from the end of the tunnel, I think that things will return to normal quicker than we expect. I also think a lot about what prospective patrons will need to feel safe in a theater again.

Troy Kotsur, Matthew Ryan Pest, and Paul Raci in "American Buffalo" - Photo by Noel Bass

What do you need right now to keep going forward? What would you like from the theater public?

DJK:  I, for one, count my blessings every day. We have a wonderful community of actors and patrons that keeps us going. Our Board has been extremely supportive, and we’ve received some wonderful donations. Theater is an art form that’s been around for ages. While we will continue to fill our need for communal experiences, our industry will continue to evolve. I think our industry will make advances in virtual space. I’m thinking about this time in our industry and how we can step up to the challenges posed by quarantine. But in my mind only one thing is certain: that we must move forward together with grace, strength, and compassion.


This article first appeared in LA Splash Worldwide.



Martha Hackett Sculpting A Character of Flaws & Strength

The Garry Marshall Theatre's next play (in their inaugural season under their new moniker honoring the late Garry Marshall), Edward Albee's OCCUPANT will begin January 31, 2018. Albee's hypothetical interview of modern sculptress Louise Nevelson will feature Martha Hackett in this integral role. Martha was gracious enough to spare us some chat time in the midst of her rehearsals.
Thank you for taking the time for this interview, Martha!
Have you inhabited any Edward Albee characters before Louise Nevelson?
In college and acting school, I performed in BALLAD OF THE SAD CAFE and SEASCAPE. I was a lizard-like sea creature in SEASCAPE - great costume.
I was most lucky to catch VIRGINIA WOOLF many years ago in London with Dame Diana Riggs and David Suchet. Have you had the pleasure of seeing someone perform Albee?
I think WHO'S AFRAID OF VIRGINIA WOOLF is an American masterpiece, and I've tried to see whenever I can, especially with a strong cast. I saw Glenda Jackson as Martha, with John Lithgow - twice! Also Kathleen Turner and Bill Irwin - both of those casts were amazing. You were very lucky to see Diana Rigg.
I've also seen THE GOAT, OR WHO IS SYLVIA? and A DELICATE BALANCE - great plays.
Edward Albee writes his characters with glaring flaws, worts and all. What would you describe as Louise's flaws?
Louise Nevelson certainly had flaws, as she was a real human being, and a friend of Albee's in actual fact. But the play is not strictly biographical. I think Albee plays with Louise's tendency to spin a yarn, or outright lie - as a way of creating a narrative for herself. On top of that, she might not be voted the world's best mother, as she was detached and unhappy in that role. However, she did have bouts of depression, and of course, that's not a flaw! I think it's hard for me to judge her too harshly while I'm playing her - as I'm seeing things from her point of view! The main spine of it is that she was destined to be an artist - and what it takes to become an artist involves great sacrifice, and a strong sense of self - which she worked tirelessly to develop.
Looks like Albee was ahead of time, writing about gender disparity in the sculpting arts. How relevant is OCUPANT with the recent revelation that Michelle Williams got paid much less that Mark Wahlberg for the reshoots of All the Money in the World?

I'm not sure Albee was writing about gender disparity per se, but it was so glaringly obvious that it's certainly woven in there. And though I don't necessarily think Louise identified as “woman artist,” she couldn't help avoid that issue - and she let Albee know about it. The truth is, the intense bias against female modern artists makes Louise's achievements even greater. Not so ‘modern,' eh? Odds were definitely stacked - very, very high - against Louise.
In terms of OCCUPANT being relevant right now, with the discussion of pay equity in Hollywood - well, it's been relevant for just about forever. This is not a new issue….it's been this way for a long time. Although I think there was a time in Hollywood when some actresses were the highest paid performers…..Lillian Gish, perhaps? And during the 30's and 40's, I think (could be wrong) there were a few actresses leading the way because they were such important box office draws.
There are also some fascinating parallels in this play about the immigration conversation happening right now. How immigrants were treated, and how valuable they become…

How would you compare and contrast Louise with Seska, your character on Star Trek Voyager?
I don't think I'd compare Louise or Seska at all - don't get me wrong, I LOVE Seska - would play her again in a minute. But Louise was a real person, and I've been able to read about her life and study her art. Louise was about lifting the human condition - the mind/body response to art - and Seska, well, she was a warrior in the more classic sense! World domination!
Have you and the late Garry Marshall's paths crossed on a set or at his previously named Falcon Theatre?
I never had the pleasure of crossing paths with Mr. Marshall - sadly. Big fan though…
Any dream roles you'd like to tackle on stage?
Hmm, dream roles - there are so many! And I'm sure some haven't been written yet. Here are a few off the top of my head - Arkadina in THE SEAGULL, Martha in WHO'S AFRAID OF VIRGINIA WOOLF, Lady M (again!), Gertrude in HAMLET, and anything in a Pinter play.

What would you like the Garry Marshall Theatre audience to leave with after experiencing OCCUPANT?
I hope the audience leaves with a better understanding of the deep sacrifices, grit, and most importantly, the sensitivity that is necessary in becoming an artist of any depth. There will always be some blood on the floor, mostly your own, but sometimes mixed with others'. Also, I hope that if they aren't familiar with her work already, that they another look at Louise Nevelson's incredible body of art. It's pretty darn breathtaking.
Thank you again, Martha. I look forward to seeing how you inhabit Louise Nevelson.
Enjoy the show!
For OCCUPANT ticket availability and schedule through March 4, 2018, log onto GarryMarshallTheatre.org