While a professor at Regis
College, WFT Producer Wendy Lement cast Elbert in the lead role of Tuc in her
production of Mother Hicks. Coincidentally, just at this time Suzan Zeder’s
prequel to Mother Hicks—The Taste of
Sunrise—was released. Zeder had
written it in response to the flood of requests she received from people around
the world who wanted to know more about the background of the three main characters. Elbert approached WFT in hopes that the
Theatre would produce it. However, given
the number of Deaf characters, and the associated cost of providing interpreter
support for them, WFT was unable to produce the show at that time. In the summer of 2013, Zeder’s long-awaited
sequel to Mother Hicks, The Edge of Peace,
was published, creating a trilogy of plays revolving around the character of
Tuc.
Elbert is finally realizing his
dream to revisit the character of Tuc, not only in WFT’s production of The Taste of Sunrise, but also—almost
simultaneously—in the productions of Mother
Hicks (at Emerson Stage) and The Edge
of Peace (at Central Square Theater).
And, because of the 14 years that
have passed since he first took on the role of Tuc, he is now closer to the
actual age of the character.
When did you get interested in
acting?
I started acting when I was twelve years old. My school always
took trips to see Wheelock productions, even when I was younger. When I saw Peter Pan I knew something inside of me said
“You’re an actor, you want to be on stage, to make changes in the future of
theatre worlds -- diversity and inclusion! “
The teacher asked us to pick an actor from the play and be a pen
pal. I didn't know who I wanted, but I thought the actor who played Smee was
excellent. I picked him, but it turned out to be “she”: it was Jane
Staab, founder, casting director, and actress at Wheelock Family Theatre.
She and I would write letters every week, until one day I told her I wanted to
be on stage. She said the current production was already cast, but if I was planning
to see any production soon to let her know. I told her that the school
and I were planning to see Tuck Everlasting.
I met her after show. She was in her costume. She told me, “Why don't you
come and audition for The Wizard of Oz?”
I did, and got cast. At the audition, I had no idea about acting or how to audition.
You know what is funny? Jane and I have same birthday! After that, there
is a magic........
What is your history with Suzan
Zeder’s work?
I had no clue of who she was until I did the play Mother Hicks at Regis with Wendy (Lement),
who directed that show. It was a great experience because I fell in love
with the play itself, involving a Deaf character that leads and tell a
story. I remember I wrote an email to Suzan Zeder, and told her how much
I loved this play and hoped to meet her in person. I never thought it would be
happening, that I would be meeting her.... It’s almost like she is
this person I have been waiting to meet ever since I was young. I am
curious what she will think of our production and of me as Tuc.
What is it like playing the same
character in three different plays over the course of a month?
All three plays are remarkably moving. They are such beautiful
plays! Every time I read all three
plays, I cry and cry again. I see Tuc’s journey as transformative. I see myself
like Tuc on certain levels – in terms of which community he really fit in, and
how he fits in as a man differently than when he was a young man. I
really hope the audience will see through Tuc’s eyes and mind, feel his
pain, his love, and his humanity.
What is your advice to a Deaf
person who wants to become an actor?
Work
hard. Don't give up. Work with many Deaf
and hearing actors and directors. Learn their craft. Take some training.
I encourage Deaf artists to write more plays about Deaf experience in the hearing
world, families, and community; more Deaf artists to become directors,
designers, and acting teachers in hearing theatres; to create more awareness
and more opportunities for themselves in theatre.
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