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Treshelle Edmond Overcomes Challenges & Makes Her Broadway Debut in Spring Awakening
Treshelle Edmond is a name that you should know. She is making her Broadway debut in the revival of Spring Awakening, the only Black actress in the production and has been since they initially started this production in Deaf West theater downtown LA September 2014. From the
website:
When it debuted on Broadway [2006], Spring Awakening’s raw and honest portrayal of youth in revolt shattered expectations of what a musical could do, earning it 8 Tony Awards, including Best Musical, Best Book for writer, Steven Sater, and Best Score for composer Duncan Sheik and lyricist Steven Sater. Deaf West’s innovative new production takes this already revolutionary musical to electrifying new heights by choreographing sign language into the production, intensifying the rift between the lost and longing teenagers and the adults who refuse to hear them.
Previously Treshelle, a deaf woman, was the American Sign Language (“ASL”) performer at the Super Bowl this year where she performed “America, the Beautiful” with John Legend and the National Anthem with Idina Menzel. Her television credits include “House, M.D.” and “Glee.” Broadway Black had the opportunity to interview Treshelle.
Broadway Black(BB): Tell us about Martha, your character in Spring Awakening, and her secret.
Treshelle Edmond (TE): Martha has amazing strength. She accepts her father’s beatings and sexual abuse, as well as her mother’s denial of both; most women in the 18th century were subordinate to their husband and had no power. Martha also loves being with her friends away from her home and she has a secret crush that she can’t reveal.
BB: Is there a speaking voice for Martha as there are for some of the other characters?
TE: Yes, I work with an amazing soul named Kathryn Gallagher who voices for my character, Martha. We both have to empathize to deliver the pain that Martha has been suppressing for so long. Once Martha tells her story, it is her time to release the storm and let it rain.
BB: Describe the significance of making your Broad
way debut as a Black deaf actress.
TE: Honestly, I can’t express how proud I am of the cast; most of us are making our Broadway debuts. As for me, there is nothing bigger than doing what I love. Making my Broadway debut as a Black deaf actress is significant because there have not been many roles available to deaf actresses or to Black actresses. Hearing women have been cast in deaf roles when there is deaf talent available. I think that my Broadway debut will open doors for other deaf Black actresses everywhere and hopefully create more opportunities where deaf talent can be used.
BB: What hurdles do you overcome in performing that the hearing community might not think about? For example, not only the logistics of hitting your mark on stage, but the difficulty you face in auditioning even before you get to a stage.
TE: Because I am deaf, it is extremely difficult to hit my mark on stage. There are cues for everything in the choreography so that we can all be in sync. Because I can’t hear, I have to rely heavily on what I feel and express myself that way. I also have to depend on the rest of the cast and the ASL Masters to help us all stay together. It is different on stage than on TV. On TV, you can do the scenes over until you get it right. On stage, you have to nail it right the first time and every single time. As for auditioning, most people don’t think to have ASL interpreters available or to look directly at me when they speak so that I can understand what they are saying.
BB: Spring Awakening seems the perfect vehicle in which to incorporate ASL because the story is about empathy and the dangers of not communicating. What other Broadway shows might lend themselves well to use of ASL in the production?
TE: I think every Broadway show could or should implement deaf actors and ASL in the production. Every deaf person should have the opportunity to audition or play any role. For example, the Spring Awakening cast was invited to see Amazing Grace on Broadway. At the end of the performance was an unexpected surprise: the entire cast signed Amazing Grace in ASL. It was beautiful and I cried.
BB: While you’re not the only deaf actor in the production, you are the only Black actress. What additional challenges do you face because of this, not just in Spring Awakening, but generally?
TE: First and foremost, hair! But really, it’s the character that challenges me the most. It’s a tough subject. Sometimes it’s hard to get roles being a Black deaf actress because there aren’t a lot of TV shows or plays that cast for Black actresses. The exception was when I was on “House, M.D.” They specifically wanted a deaf actress for the part. I am lucky and even more blessed that this Spring Awakening company is like my second family. We all look at each other equally and we are past racism and discrimination. I can see the world is still living in it; this is why it is my goal to be a role model for those who look to me for positivity.
BB: You’ve performed at the Super Bowl and made your Broadway debut. Those are two incredible feats at the age of 24. What is on the horizon for you and what is on your bucket list?
TE: Oh my goodness – I never would have dreamed of performing at the Super Bowl and debuting on Broadway all in the same year! All before the age of 25! My birthday is on September 10 and I will be 25. I have no idea what the future may bring but as long as I am doing what I love and am happy, that’s all that matters to me. As far as a bucket list, I don’t really have one. I always want to challenge myself with something new. Because once you face your fear, it’s like a blossoming flower; it thrives and makes you stronger. It’s all about growing up and making the best of it every single day. I can’t say where you will see me but you will definitely see me again soon.
BB: You champion women’s empowerment and self-love, having to overcome racism, sexism, and audism. How does this manifest in your everyday life?
TE: It used to be, if nothing was going right for me, I would build up my frustration and I would just cry (I rarely did, but it happened). I can’t do that now. Instead I get up in the morning and the first thing I do is look at the daily quotes I received in my email. All these quotes represent wisdom that we should live up to. I always seek improvement and inspiration. If I don’t like it, I do something about it and change it.
BB: What should the hearing community know and how can we be supportive and more inclusive?
TE: Learn the ASL alphabet; it’ll save you lot of time and could really be useful in an emergency. Finger-spelling is one of the best ways to learn sign language! Also, be patient with yourself. Learning a new language is always hard. Don’t be afraid to try, you’ll be alright!
BB: What advice would you give to young Black actresses?
TE: Do what you love and love what you do. Also, get in love with yourself ’cause that’s where you’ll grow and gain a whole new open perspective on life. You can accomplish so much more when you achieve that. Also, don’t let anyone else’s poison affect you; you’re not responsible for anything but your own feelings and happiness. Don’t let anyone dull your sparkle and always, always, always BELIEVE IN YOURSELF.
At just 24, Treshelle Edmond has already accomplished so much, including overcoming discrimination and thriving both on the Broadway stage and off. Broadway Black salutes her spirit and looks forward to her next endeavors. For now, go see Treshelle in Spring Awakening during its limited engagement at the Brooks Atkinson Theatre. Previews begin September 8 and tickets can be purchased here.
Have you seen The Light by Loy A. Webb at MCC Theater? If you haven’t, then you need to and Broadway Black has got you. Join us on SUNDAY MARCH 3rd for the BWAYBLK Experience!
Use code BWAYBLACKMCC and pay $35 for any seat on Mar 3 at the 7:30 performance
Not every marriage proposal goes as planned. LOY A. WEBB’s THE LIGHT introduces us to RASHAD and GENESIS on what should be one of the happiest days of their lives, but their joy quickly unravels when ground-shifting accusations from the past resurface in this gripping two-character drama. Can their relationship survive the growing divide between them over who–and what–to believe?
Also, get into this amazing photo series of playwright Loy A. Webb & the cast of her play The Light. Photos by Curtis Brown were taken in the new elegantly designed and strategically welcoming Robert W. Wilson MCC theater space. Located in midtown New York on 52nd and 10th ave (511 W 52nd ST
New York, NY 10019)
On another tip, some really dope creatives will do a talkback after the Saturday matinee performance that you might be interested in attending. Make sure to RSVP.
Panelists include: Nissy Aya, Cristina Pitter, Alicia Rodis & Kavita Mehra
THIS WEEKEND SAT FEB 23rd
LOY A. WEBB’s THE LIGHT at MCC Theater delves deeply into one couples’ reckoning with an encounter with sexual violence that has left audiences asking: as a partner, a family member, a friend, how do we support sexual assault survivors? And what responsibility do artists have to create work that is trauma-informed? On SAT FEB 23 at 4:00 PM for an in-depth conversation about the power of allyship rooted in love and healing – in our lives and on our stages – in the face of trauma.
SAT FEB 23 at 4PM
THE ROBERT W. WILSON MCC THEATER SPACE
511 W52 ST
RSVP HERE.
Camille A. Brown Photo by Whitney Browne
Camille A. Brown‘s dance company, Camille A. Brown & Dancers, tours nationally and internationally and will be presenting six performances featuring the debut of ink at The Joyce Theater NYC Feb 5-10th 2019.
Propelled by the live rhythms and sounds of traditional African and handmade instruments, Camille A. Brown’s ink celebrates the rituals, gestures, and traditions of the African diaspora. Highlighting themes of brotherhood, community, and resilience, the work seeks to reclaim African American narratives and is the final installment of Brown’s dance theater trilogy about identity.
In addition to her company works, Ms. Brown brings her passion for storytelling to her award-winning choreography for Broadway, Television, and Off-Broadway. Productions include Tony Award Winning Once On This Island, (Drama Desk, Outer Critics and Chita Rivera award nominations), Emmy Award Winning Jesus Christ Superstar Live on NBC, A Streetcar Named Desire, Choir Boy, the upcoming Magic Mike The Musical, PAL JOEY.
We had the chance to probe a little bit into the world of Camille A. Brown, and we’re grateful for the insight and wisdom with which she was able to bless us. Check out the interview below along with an excerpt from ink.
Broadway Black (BB): After forming the idea, what was the process of building ink?
Camille A. Brown (CAB): After the creative process for BLACK GIRL: Linguistic Play, I held a desire to dig even deeper and tell more stories of ritual, gestural vocabulary, and traditions of the African Diaspora. I was immediately drawn to two albums that had a significant impact on me when I was growing up. The Miseducation of Lauryn Hill by Lauryn Hill, and Like Water for Chocolate by Common. I tasked myself with creating a movement language that embodied the same raw authenticity, and vulnerability that fuels those lyrics and music.
As I began to develop the concept for ink, I wanted the dancers to represent superheroes. I couldn’t figure out why I had the urge to play with this idea until I read Question Bridge: Black Males in America. One of the men interviewed said, “I see Black people as comic book heroes because they always keep rising.” That was it! It is about showing that in our basic survival, and natural attributes we have superhuman powers. Powers to shift, overcome, transform, and persevere even within an often hostile environment. The seven sections of ink represent super powers of spirituality, history and heritage, the celebration of the Black female body, Black love, brotherhood, exhaustion, and community.
The process involves a deep collaboration with the dancers and my direction is guided by their choice making.
The space is very organic and fueled by research. My dancers, musicians, dramaturgs, and I are in constant dialogue throughout the process about the work and how it’s progressing. We don’t move forward unless we’re all on the same page.
We are building the work together. As a disclaimer, I let everyone know the process will be exceptionally tedious. Like a fine comb, I go through each beat, gage the temperature of storylines, and make sure the movement and music are always in conversation (whether aligned or in contrast).
BB: What made you want to start your own dance company and how have you sustained?
CAB: I found my love of choreography in college because I struggled with body image, and found that creating my own voice was a safe and empowering space. After graduating, I danced with Ronald K. Brown/Evidence for 5 seasons and during my second year with The Company, a friend from college (Amy Page) sent me a flyer for the Hubbard Street 2 competition which picks 3 choreographers to create work on the Company. I was chosen! That gave me the encouragement to pursue choreography. My first idea was to take an alias like female writers used to do because even at 22, I knew the playing field was not leveled and women (particularly black women) did not get as much exposure as male choreographers. Dance is revealing and vulnerable so taking an alias wasn’t a realistic option. People would have to see me as I am, but I also needed the confidence to withstand the obstacles. Not only that, having a company seemed daunting.
Ron wore so many hats. He was the director, choreographer, teacher, and also took on administrative duties. He never got a break. I wasn’t confident I could handle all of the duties.
I set work on other companies, but soon realized it wasn’t for me. 1-4 weeks working with a Company wasn’t enough time for me to really hone my skills, find my voice, and discover my personal creative process. I desired a more intimate relationship and space with my dancers and collaborators. I had my first show at Joyce SoHo in 2006, and committed to having a company in 2010.
What sustains CABD is my team. I have a company agent (Pamela Green), Managing Director (Indira Goodwine), Company Manager (Michelle Fletcher), and a production team who holds things down.
In the beginning, I was doing ALL the jobs! As time went on, my team slowly formed. It’s really about patience and perseverance. Nothing happened over night and everything is a progression.
BB: How have you had to be a superhero in your own life personally and professionally?
CAB:
Personally
Last year, I had a life-threatening experience. My appendix ruptured on tour. Appendicitis is when they remove your appendix before it ruptures, but mine actually did and the fluid was in my system for at least a week. I survived the “fatal” stage- which the doctors told me isn’t common. This started a very long year and a half which included 4 hospital stints and two surgeries (my second one was in April). This all happened during Once on This Island (I was in the hospital the first week of rehearsal and had my first surgery during tech), Jesus Christ Superstar Live, and my Company touring. I had to access my “superpowers” and push through, but thankfully I had my team and community to help me.
I’m going to be writing about the entire ordeal because it was such an integral part of my life. People see the “success”, but if they only knew the hardships I had to overcome to get to the other side.
Professionally
Being a Black female Choreographer and Director is hard. People ask me to do I feel like I’ve arrived. Absolutely not. I’m still Black and a woman- two underrepresented groups- particularly in theater. The playing field is still not leveled and I’m clear I have to work twice as hard.
I’ve had to build up strength and confidence. It is an ongoing process of gathering those superpowers. In many spaces, I’m sometimes the only woman (I was the only woman on the creative team for Jesus Christ Superstar Live), and the only black person in some rooms.
Recently two black girls at different events asked me the same exact question: How do you navigate spaces where you’re the only one.
It’s quite easy to feel intimated and shrink yourself. I know I have done that in the past. Now, I’ve found if I think about the black women before me in similar spaces, black women who are currently in similar spaces, and the next generation of black women coming after me, it makes me more confident. When it’s not just about you, it becomes a responsibility.
And even when I don’t feel like I have any superpowers, this happens…
and it refuels and encourages me to keep going. Someone is always watching.
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