Preying Hands

Katie Roberts

I had the privilege of attending a play reading of “Preying Hands”, a script by Richard Medugno and Howie Seago.  The creative process of writing a play goes through many steps – the last step before the final draft of a play is drawn up is usually a play reading.  This play reading was a chance for us to witness the actors performing material with scripts in hand.  The actors have almost no preparation beforehand, and this allows us to experience the process of a changing story that is more authentic and real.  The stage was minimal – minimal stage directions were explained to the audience between scenes, while the actors arrange themselves on the platform with the script arranged on music stands for convenience.  Howie Seago chose to base this play on the true story of a priest who molested over 200 deaf boys at a private school in Wisconsin, and the result was, indeed, moving and evocative.  This was not an easy experience.  It left me feeling unsettled. 

We also had the opportunity to participate in a feedback session after the play, and that is when the most interesting debates began.  The audience and I had the opportunity to pick through the multilayered themes of the play.  We touched upon themes of alienation, despair and loss which were intertwined with humor, grace and hope.  I was intrigued by how the play linked sexual abuse with audism in such a way that revealed traditional and institutional  forces at work.  Indeed, the adulation of authority that allowed the priest to evade accountability for his actions is the same exact driving force of paternalistic behavior towards the Deaf.  The raw material that Howie provided us holds much promise as a crossover piece that appeals to hearing and Deaf audiences alike. I would like to see this play further refined and developed to its’ potential.  With fine actors and a little polish, this play can indeed make a name of its’ own, always to be remembered. I know I will, and at the earliest opportunity possible, I am eager to see this play in its’ final form.