Who is Willy Conley?
Willy Conley

A professional actor, director, sign master, and playwright, Conley has won awards from VSA arts 2000 Playwrights Discovery Competition at the Kennedy Center, the PEW/TCG National Theatre Artist Residency Fellowship, the Sam Edwards Deaf Playwrights Competition, The American Deaf Drama Festival, the Baltimore Playwrights Festival, the '97 and '99 NeWorks Festival in Boston, the Laurent Clerc Cultural Fund, and the Lamia Ink! International One-Page-Play Festival. Published plays include "The Hearing Test" (in No Walls of Stone, Gallaudet University Press), Broken Spokes (Tactile Mind Press), The water falls. (Tactile Mind Press), The Universal Drum (TYA/USA Theatre for Young Audiences Today), and a collection of his plays has just been published: Vignettes of the Deaf Character: And Other Plays (Gallaudet University Press). As an actor, Conley has performed with the National Theatre of the Deaf, Pilobolus Dance Theatre, Amaryllis Theatre Co, Colonial Theatre, Shakespeare-in-the-Park in Rhode Island, Fairmount Theatre of the Deaf, New York Deaf Theatre, Quest: Arts for Everyone, Sunshine Too, and Center Stage. Recently, he appeared in an episode of NBC's Law & Order: CI 'Silencer'; other films include: Wrong Game and Stille Liebe (Secret Love). He holds an M.A. in Creative Writing/Playwriting from Boston University (where he studied with Nobel laureate Derek Walcott), and an M.F.A. in Theatre from Towson University. He is an Associate Artist with Center Stage, an Affiliate Artist with Quest, and an Associate member of The Dramatists Guild. In addition, most people do not know that he was the first Deaf person to receive national certification as a Registered Biological Photographer (#319) after having graduated from the Rochester Institute of Technology with a B.S. in Biomedical Photographic Communication.

Willy Conley and workshop participants.
(Kent Trumbull Theatre)

Production Team

Directing Team
~~Stage Director	Daniel-Raymond Nadon
~~Sign Master	Nancy M. Resh
~~Dramaturg	Carol L. Robinson
Technical Director/Scenic Design	Robert Katkowsky
Stage Manager	Daniel Parsons
Costume Design	Christine L. Jones
Lighting Design	Leslie Brown
Sound Design	Nolan Sowa
Slides and Projection	Jim Lybarger
Light Board Operator	Kate Graff
Sound Board Operator	Nolan Sowa
Rehearsal Interpreters	Jim Draper Christine Fowler Tiffany Mulloy
Artwork	Carol L. Robinson
Office/Student Employee	Jenna Cintavey
Shop/Student Employee	Jeff Infante Mickey Krenek
Coodinator of Theatre	Daniel-Raymond Nadon
Web Page Design	Carol L. Robinson

The end and the beginning of the ride on the wheel.
(Kent Trumbull Theatre)

Cast

Everyone	Rhianna Squires Jenna Cintavey Kurt Cullison Joe Toto
Death	Cleric Costes
Allah, Strength & Ensemble	João Ciuba
Buddha, Good Deeds & Ensemble	Christiana Ozimek
Great Spirit, Riches, 5 Senses & Ensemble	Patricia Rogan
Vishnu, Sister, 5 Senses & Ensemble	Katie Starling
Ra, Mother, 5 Senses and Ensemble	Pamela Young
Jesus Christ, Cousin, Strength and Ensemble	Thomas Young
Sister, Beauty and Ensemble	Kayla Donaldson
Good Deeds	Christine Fowler
Knowledge	Tiffany Mulloy
Knowledge, 5 Senses, & Ensemble	Victoria Van Horn
Street Preacher & Judgement	Daniel Parsons
Preacher's Aid, 5 Senses, & Ensemble	Dorothy A. Voyda
Messenger, 5 Senses & Ensemble	Kurtis Showers

Producers' Notes

This project allowed us as a cast, crew, and directing team to explore a number of crossroads between a number of otherwise dissimilar cultures and theatrical styles.  The play meets at the interections of contemporay American theatre and medieval British theatre, of traditional theatre forms and those of National Theatre of the Deaf, of an onsite production and a tour (we are taking the show on the road), of town and gown, of Deaf/deaf and hearing cultures, of male and female, of Christian in relation to other faiths, and of education through entertainment.  The important journey of the charactes, Everyone (male and female), into uncharted territory is matched by the incredible journey of our actors, designers, directing team, and crew--brave soldiers all.  I am proud of the amazing team we have assembled and of the hard work we have achieved together, in this intersection.
~~Daniel-Raymond Nadon, Stage Director

I believe Willy Conley wanted everyone (not just Everyone) to see how important it is that we all communicate with each other and communicate successfully. As Sign Master for this play, I had the unique opportunity to observe this wide range of hearing, deaf, signing, and speaking actors. What was most impressive was that they all made the effort to overcome the nearly impossible communication barriers. I cannot begin to tell you how I feel working with this wonderful group: wtching their conversations (ASL, English, or something in between) and the other ways they socialized and practiced with each other. Their taking the time and effort to better understand a language and culture other than their own made this play experience a success, even before opening night.
~~Nancy M. Resh, Sign Master

A medieval morality play is supposed to teach the lessons of Christian "right" conduct. Willy Conley's adaptation of (perhaps) the most famous of British morality plays, Everyman, also attempts to teach "right" conduct. While this modern morality play still holds muchof the Christian ethos of the original work, it also brings in much contemporary pathos (such as a passionate plea for self-reflection) and logos (such as a reasoning for tolerant behavior). For me, the irony has been that, in producing this play, we have had to learn to practice what the play preaches. Observing and trying to help the actors struggle through communication barriers, through performance breakdowns and break-throughs, through tears of frustrating self-disappointment, through tears of joyful self-discovery: it has been both a torment and a pleasure. (Isn't it funny how those two feelings often come hand-in-hand?) I am both honored and proud to have worked with this troupe. We are everyone, all of us.
~~Carol L. Robinson, Dramaturg