Deaf Calgary playwright Landon Krentz explores sign language ban with 100 Years of Darkness

Deaf actor Ebony Gooden performs in 100 Years of Darkness at the Pumphouse Theatre through March 18. (Photo courtesy Inside/Out Theatre/Camille Craig)

Landon Krentz is a Calgary playwright unlike any other.

Krentz is a deaf storyteller whose new play 100 Years of Darkness is being produced by Inside/Out Theatre.

The Calgary theatre company is presenting the drama in both American Sign Language and English, so it's accessible for both deaf and hearing audiences.

The play is an exploration of the impact of the ban on sign language that existed in Canada from the 1880s. It's also a romantic tragedy about two queer couples who face language barriers.

CTV News reached out to playwright Krentz to learn a little bit more about the show. Some of the answers have been edited for length.

Q. What was the genesis of 100 Years of Darkness?

A. Our greatest deaf oppressor, who will be revealed in the performance as the scientist, died in 1922. I wanted to place an emphasis that even though it has been over 100 years, we deaf people are still faced with all kinds of obstacles due to the impact of the sign language ban. The impact includes limited access to education, lack of opportunities, language deprivation issues, deterioration of mental health, and high risk behaviors.

Q. Why was there a ban on sign language?

A. In 1880, there was a large multi-country conference of deaf educators where a declaration was made that oral education was better than manual (sign) education. As a result, sign language in schools for the deaf was banned.

Q. Was it hard to write? Was it fun?

A. There are many challenges as a deaf writer as there are very few deaf writers in Canada who are fluent in American sign language. To create a deaf-original piece have to make cross-cultural and bilingual considerations in order for the performance to serve both deaf and hearing audiences equally.

Q. What do you hope audiences take away from 100 Years of Darkness?

A. We want the hearing audience to appreciate the beauty of our culture and language. To understand and learn about our deaf culture within the context created by deaf artists in order to achieve equal shared theatrical experience for both deaf and hearing audiences. The hearing audience will learn the truth about our greatest oppressor, who is often viewed as the hero by hearing peers. The deaf audience rarely ever gets rich theatre experiences as many organizations rely on ASL/ENG interpreters in order to join the hearing experiences.

Q. What's next for you?

A. We continue to strive for continuous investment in our deaf Canadian artists and work towards creating more deaf-led projects for the deaf and by the deaf in order to make the best possible impact for both deaf and hearing audiences in an equal shared theatre experience.

I am excited to start a new journey to work on an adaptation of The Little Prince by Antoine de Saint-Expery for our deaf children in the audience.

I believe in using theatre as a tool to address the language deprivation issues for our deaf artists and children.

Q. Do you have to know sign language to understand the play?

A. No, you do not need to know sign language to understand the play.

100 Years of Darkness is on through March 18 at the Joyce Doolittle Theatre at the Pumphouse at 7:30 p.m.

For information, go to Inside/Out.

For tickets, go here.