Cameron Nye, Contributing Photographer

Last year, the University designated funding to a pilot program to provide public American Sign Language, or ASL, interpretation for the Dramat’s productions, marking a significant step in theater accessibility at Yale. Under the pilot program, ASL interpretation was provided during a designated night in a Dramat show’s run.

This year, the program was not renewed, despite positive reactions from audience members and Dramat leadership alike. According to Maya Evans ’27, the program received “good feedback.” 

“Theater is a place of entertainment, education, and discovery,” said Alex Shadman ’27, an ASL student. “Placing limitations on the people who can experience these productions is counterintuitive.”

“Not feasible for us as a student organization”

As the Dramat’s policy director, Evans ensures that the Dramat’s policies are as “equitable and accessible” as possible. Recently, she oversaw the Dramat Board’s new anti-racism initiatives and revised the official policies regarding the depiction of sexual content on stage. 

According to Evans, the Dramat board largely believed in the benefits of the program. 

“To my understanding, because the interpreters were available, more Deaf and hard-of-hearing people were going to the shows,” said Evans. 

Providing ASL interpreters can be quite costly. Without additional funding, being able to provide public interpreters is just “not feasible for us as a student organization,” said Evans.

ASL was provided through Undergraduate Productions, an organization that is committed to ensuring safety at Yale theater, according to the website. 

Describing the updated policy surrounding ASL interpretation services, Undergraduate Production’s website states that “it is the responsibility of the organization or production team to secure the interpreter and provide funding for the request.”

When the News asked about the discontinuation of the program, UP did not respond to comment. 

The decision to axe the program has raised concerns about Yale’s commitment to make the arts more inclusive. While interpretation for the Dramat’s mainstage productions is still listed as “available upon request” on the Dramat’s website, few audience members have requested it. 

“An unfair burden on Deaf patrons” 

Interpreter Kyle Leonidas-Nye said that he disagrees with the policy change.

“A request-based system puts an unfair burden on Deaf patrons,” he said. “If a Deaf person decides last-minute that they want to see a show, they might not be able to because interpreters weren’t requested in advance.”

“And for us interpreters,” he continued, “It’s extremely difficult to prepare for a show on short notice. We need at least a month to properly rehearse and do justice to the material.”

Leonidas-Nye has previously worked on Dramat shows like “Rent” and “Legally Blonde.” He views his time working with student production teams as “very accommodating.” However, Leonidas-Nye said that it should be the theater’s responsibility to make their productions accessible from the start.

“Theater is a huge part of culture, and it should be accessible to everyone,” he said. “Ensuring access means allowing Deaf audiences to participate in that shared cultural experience.”

Students taking ASL classes have previously enjoyed attending these interpreted shows, which not only provided opportunities to improve their language skills but also to experience the artform in new lights.

“These shows were a great opportunity for hearing students to see theatrical interpreters in action,” said Shadman.

Shadman has a rich theater background. He has performed alongside interpreters at the Dramat and recognizes the importance of accessible theater. 

Giving each other “grace” 

Dr. Julia Silvestri, the ASL Program Coordinator at Yale, has similar feelings.

For Deaf people interested in art, she said that having interpreters provides them an opportunity to interact with different modes of storytelling.

“It’s a great way for hearing people to interact with Deaf people without excluding them,” she said. 

Silvestri is Deaf, and has attended shows with provided interpreters. Growing up, her hearing father and Deaf mother would go watch interpreted shows. For them, theater was something they could experience together, appreciating theater in unique but impactful ways. 

While each Deaf person’s experiences are different, Silvestri personally prefers when interpretation is provided.

“If I walk into a theater and see people signing, I’m going to feel more comfortable and safe,” she said. 

For larger theatrical groups like the Dramat, having interpreters and ushers who know ASL can put Deaf and hard-of-hearing audience members at ease. However, Silvestri emphasized that people need to give each other “grace,” especially in the face of complicated situations. 

“In situations where people learn new things: where people learn new things, where Deaf people try to be involved and where students try to support them, there are a lot of moving parts,” Silvestri said. “I tend to believe that it’s nice when people help each other.” 

As the Dramat continues to navigate the challenge of making their productions more inclusive, the discontinuation of the ASL interpretation program highlights a larger conversation about accessibility in Yale arts. While students and faculty alike recognize the value of interpreted performances, the burden of securing and funding interpreters remains a barrier.

For now, ASL interpretation is only available upon request — an option that some, like Leonidas-Nye, argue is insufficient in ensuring true accessibility. But students like Shadman remain hopeful that Yale will reconsider its decision.

“Interpretation allows for people of different identities to enter theatrical spaces and feel as though they are valued like everyone else,” he said. 

The Dramat was founded in 1901.