What was Selznick’s special interest in seeing our signed/spoken version of Cyrano? One of the main characters in his most recent book, Wonderstruck, is partially deaf.
In a Q&A with Publisher’s Weekly, Selznick talked about his book and deafness:
Where did the idea come from to include deaf characters?
I started what became Wonderstruck while I was still working on Hugo. I had been thinking about Deaf culture after seeing this really, really good documentary, Through Deaf Eyes, which is about the history of Deaf culture. There was a line about how the deaf are a “people of the eye.” Most of the ways they communicate is visually. To me, that was the perfect reason to tell a story about a deaf person through illustrations. I had met deaf people who told me the thing they liked most about Hugo was the silence. Even when you’re reading words, you hear those words in your head but telling a story through pictures, there’s a feeling of silence about that and they really liked that.
Carol Padden and Tom Humphries from the University of California-San Diego, two of the leading Deaf scholars in the country, read my manuscript again and again and again to help me fine-tune the experience of the Deaf culture to make sure it was true to deaf people in general and to these two characters I was writing about. They were incredibly generous with their time and there was no way I could have written the book without them.
There’s also a line in the acknowledgments about being deaf in a hearing family and having to look for one’s culture outside of one’s biological family. This made me think about being gay in a heterosexual family.
Yep. That’s exactly the parallel I was thinking about. In Through Deaf Eyes, there was a young man raised by hearing parents. His parents were great, incredibly supportive, but it wasn’t until he got to college that he became aware he was part of a larger culture that had its own history he could share and be proud of. Growing up gay, there’s this exact parallel. And you don’t have to be deaf or gay to feel like you don’t belong to your own family. So many people have the experience of feeling that the family they were born into is not a good fit: An artist who is born into a family of non–artists, or a kid who is not interested in sports who is born into a family of athletes — there are a million parallels for that situation. You have the family you’re born into but you have this need to meet other people who are uniquely like you. One of the things that people told me they were most moved by in Hugo was how he creates a new family for himself. That’s a truth for so many people. You leave your family and create a family for yourself that’s often a better fit. Wonderstruck is a more direct way of exploring that same theme.
Tracy Middendorf and Morlan Higgins in "After the Fall" at the Fountain Theatre (2002, photo by Ed Krieger); Tommy Schrider and Tracy in "Battle of Black and Dogs" at Yale Repertory Theatre (2010)
by Mark Kinsey Stephenson
Tracy Middendorf was hailed for her “delicious mixture of beauty and raw emotional vulnerability that makes you care deeply about her” by director Stephen Sachs in the March 2002 cover article of LA STAGE magazine. She had already become an LA stage star in 1999, when, at age 29, she received the Ovation Award for leading actress in a play – against powerhouse nominees Annette Bening, Ruby Dee, Phyllis Frelich and Linda Lavin. She earned a LA Drama Critics Circle Award for the same performance, in Summer and Smoke.
A little background
In 1992, straight out of SUNY Purchase, Middendorf was tested in NY for the successful daytime soap opera Days of Our Lives. “I was quite surprised they couldn’t find a young blonde actress in LA,” she says with a light, ironic laugh. “Surprise, surprise,” as she was promptly hired and moved over 2,400 miles — but only on Middendorf’s terms, which demonstrated her mettle.
“I was worried about taking the part; doing a soap opera wasn’t my first choice. They asked me to sign a five-year contract and I told them, ‘No.’ You can imagine the reaction of my agent. How many actresses get an opportunity to be a regular on a soap? But I had high ideals right out of college. They brought the contract down (in years) to what I wanted.” And she thoroughly enjoyed the Days of Our Lives experience – without compromise.
During the next decade, following her soap stint as Carrie Brady, Middendorf was cast on a variety of TV shows including Beverly Hills 90210, Murder She Wrote, Touched by an Angel, Ally McBeal, Six Feet Under and The Practice.
Larry Poindexter and Tracy Middendorf in "Tender is the Night" at the Fountain (photo by Ed Krieger)
But she also was able to incorporate her first love – theater – by performing at the small yet mighty Fountain Theatre. The relationship between actress and theater was mutually rewarding. Middendorf wowed critics in her first LA stage outing in Simon Levy’s 1995 multi-award-winning adaptation of F. Scott Fitzgerald’s Tender is the Night, and followed up a year later with an Ovation-nominated feature actress performance in Tennessee Williams’ Orpheus Descending.
The East Coast beckoned Middendorf to return, which she did briefly in 1998, performing in Tony winner Daniel Sullivan’s Ah! Wilderness at NY’s Lincoln Center and Joanne Woodward’s The Big Knife at the Williamstown Theatre in Massachusetts. Then in 1999, Middendorf struck gold with Tennessee Williams’ Summer and Smoke at the Fountain, under the direction of Levy. The actress and the production both received Ovation Awards. Life was good for Middendorf, but it was going to get better.
It is early 2002. Arthur Miller’s After the Fall, directed by artistic director Sachs, has opened at the Fountain Theatre, and Middendorf is featured in LA STAGE. She almost had to pinch herself with everything happening – creatively and personally. “It was a really exciting yet exhausting time. Calvin (her son) was two, and I was a single mom. Juggling this amazing show and great part along with bills and everything life was throwing at me, it was… challenging and hard. But going through that, I was proud of myself. It’s important to always do what you love, no matter how difficult life may be. It’s something I’ll always remember.”
Sachs shares more. “Playing Maggie required Tracy to dig deep down into some very dark and scary corners of her own psyche where her own demons hide. Her performance was shattering, fragile, heartbreaking. Unforgettable.”
The recognitions Middendorf received in 1999 were no fluke. After the Fall received four Ovation awards, including best production and one of three lead actress awards that year. Middendorf also added a second LA Drama Critics Circle award for her performance. For a play that hadn’t been seen in LA for 24 years, the Fountain and Middendorf reaped the benefits of Miller’s work.
Five years passed before Middendorf returned to the LA stage. During this passage of time, she married Franz Wisner, author of the well-received book Honeymoon with My Brother, and had another child, Oscar. TV roles were plentiful, including Alias, Cold Case, House M.D., Without a Trace and Lost, as well as acting in the movie Mission: Impossible III with Tom Cruise.
Chuma Gault and Tracy in "Miss Julie" at the Fountain Theatre (2007, photos by Ed Krieger)
However, while she was at the Fountain in Miss Julie, adapted and directed by Sachs, based on the original play by August Strindberg, a canceled audition for a play flicked a switch. She felt it was time for another 2,400-mile move.
During the run of Miss Julie, Middendorf was scheduled to audition for Edward Albee’s The Lady From Dubuque, which was set to open in London, starring Maggie Smith under the direction of Anthony Page (Tony winner for A Doll’s House). But the production team canceled its trip to LA, leaving Middendorf in the lurch. Here’s where the rubber met the road.
“I couldn’t pass up the opportunity to audition for Mr. Page or the play or Mr. Albee, so I flew to NY with my two kids. Yes, it was crazy but this was important.” After booking a hotel room and auditioning, “They paid my flight fee so I could stay a few more days and attend the callbacks.” But the coastal reality hit hard. Two Ovations and LADCC Awards didn’t ultimately sway Page to cast Middendorf. “He didn’t know any of my stage work, never had seen me in anything.” That moment was critical for her. “I wanted to expand my horizons which meant moving back to the East Coast. I didn’t want to be limited.”
"The Pavilion" at Westport Country Playhouse (2008)
Soon an acting gig on Law & Order: Special Victims Unit followed, along with another opportunity to work with Joanne Woodward, who was artistic director at the Westport Country Playhouse. “I had such a wonderful time with Joanne when I performed in The Big Knife. It was a chance to get reacquainted with this fascinating woman. So I was able to do Craig Wright’s The Pavilion (2005-2006 Drama Desk Award nominee for outstanding play).”
Westport, CT, became home for one year with its quaint community, slower pace, dinners on the beach,… but Middendorf and her family realized they wanted to live in the city. To Brooklyn they moved, and they’re still there.
East/West – the active life
Since settling in Brooklyn, Middendorf’s professional resume includes two theater productions. In 2010, she performed at Yale Repertory Theatre in the haunting thriller Battle of Black and Dogs, by the late French playwright Bernard-Marie Koltes. Middendorf reflects on her time there. “It was incredible. I adored working with Robert Woodruff (the director) who has this amazing cult following. And it gave me a chance to work with Andrew Robinson (whom she had performed with in Star Trek: Deep Space Nine) now at USC (professor of theatre practice and director of MFA acting).”
Holly Twyford and Tracy in Shakespeare Theatre Company's "Old Times" (2011).
A year later came Harold Pinter’s Old Times at the Shakespeare Theatre Company in Washington, DC. Middendorf wryly says, “It was the shortest commute I’ve ever had. They put me in an apartment three steps from the entrance door.” Expounding on her experience, “This Pinter three-character play is not hugely appealing to everyone. Audiences can be frustrated. Yet the show received good reviews. The director Michael Kahn (also artistic director at the Shakespeare Theatre) was magnificent. We had four weeks of rehearsal to focus on this dense material.” Sophie Gilbert, theater critic with the Washingtonian, wrote, “Middendorf, as Kate, does a remarkable job in expressing the character’s sexuality and the power it gives her over others.”
During this three-year span, Middendorf’s TV credits have included CSI: Crime Scene Investigation, Bones, The Mentalist, NCIS, Criminal Minds and she’s especially grateful for Boardwalk Empire. “I play Babbette (the owner of the series’ central nightclub). The pilot was directed by Martin Scorsese. Watching him direct was thrilling.”
Tracy Middendorf in HBO's "Boardwalk Empire"
When it came time for the wardrobe fitting, the initial decision was to put Middendorf in a beautiful dress. She thought otherwise. “When I auditioned for the part, it came across as very masculine. So I told them I saw Babbette in a suit.” Giving the design team pause, Middendorf was told she would be called back. “When I returned later, John Dunn, the extraordinary costume designer, had me meet with a tailor to make a tuxedo. And that’s when they gave me a platinum wig.”
Looking through a different lens
As she reflects on years past and where she is today, realizations are not far behind. “The ability to do those great parts at the Fountain…. I love that theater, Simon, Stephen…. After working on Old Times, which was in a huge space, I realized I prefer the smaller stage and a smaller audience. The intimacy of it feels comfortable to me. I miss having a place where I can do that type of work. I really appreciate and love the vitality of LA theater which is focused on the work and on the play.”
Looking at the arts with a different lens, Middendorf states, “I’ve begun to change my focus toward directing. I’m more interested in the vision for an entire piece rather than just one role in a piece. That seems like a natural step for me.”
"Break", directed by Tracy Middendorf (2011).
In August 2011, Middendorf directed Louise Rozett’s Break for the FringeNYC. The material dealt with the unexpected effects of the Ground Zero recovery effort on NYC’s firemen and policemen, and their families. How she came to helm this play was happenstance. “I was in the laundry room of our building. There was a woman (Rozett) there and we started talking. She had a Young Adult book coming out. I asked if she had written any plays, as I was looking to direct something. She said she did, and gave me her plays, which were wonderful.”
Not letting a moment such as this one go to waste, Middendorf gathered together some actors and directed a reading that had great response. “We submitted it to the Fringe Festival and it got accepted. Within a month of putting it out there, I wanted to direct a play, and that’s what I was doing. We raised money through Kickstarter to mount the production. It turned out wonderful. Now Louise is giving me another play to consider directing.”
This past summer Middendorf read Three Cups of Tea, Stones into Schools and Half the Sky (the Skirball Cultural Center is currently hosting an exhibit entitled “Women Hold Up Half the Sky” inspired by the Nicholas D. Kristof and Sheryl WuDunn tome.) These books dealing with the plight of girls around the world touched Middendorf and made her consider ways she could make a difference in the lives of those “who don’t get an education and suffer a dismal fate.”
Middendorf rattles off a few startling facts: “Of the 104 million children aged 6-11 not in school each year, 60 million are girls; in South Asia, more than 40 percent of girls aged 15-19 from poor households never completed first grade; providing girls one extra year of education beyond the average boosts wages by 10-20 percent; educated girls are less likely to contract HIV; education can foster democracy and women’s political participation.”
“I wanted to help. My friend Laurel Holloman (an actress on The L Word), who is an abstract painter, donated one of her paintings for a charity auction. It made me think. With the digital age, what if I created a website with a gallery of photographs taken by actors, writers, musicians and directors? The limited number of photographs would be signed and sold with the money donated to charities focused on educating girls around the world.”
Her dream is near reality. The launch date for the website – www.shuttertothink.org – is scheduled for March 1, 2012, and its small collection of photography grows weekly.
It’s fitting to close this article about the seasoned actress Middendorf with meaningful high praise from Sachs and Levy, who know her well.
“Tracy has this remarkable ability to blend both a ferocious work ethic with the ability to stay utterly alive in the moment,” states Sachs. “She possesses this other-worldly combination of skilled craft and gossamer magic. To work with her again would be a blessing I would cherish.”
Levy adds, “She’s translucent and a true artist. Absolutely one of the most gifted actors I’ve ever worked with. Her emotional well is so deep and so varied, and her moment-to-moment connection so riveting, that it’s impossible, for audiences and actors and as a director, not to be drawn into the world of her truth. Stunning. Truly stunning. She’s rare and a gift to theater.”