Hollywood representation isn’t enough. Canada needs roles for deaf actors too, says actor

In the last decade, Ryan Duchoeny has worn many hats — firefighter, police officer, construction worker and even convict. Such is the life of a background actor. 

But his real dream is to land a lead speaking role in a movie or TV show. 

For the deaf actor, who also works at an Ottawa Costco, that means finding a role with lines he can sign in American Sign Language (ASL) on screen. 

With the increasing visibility of deaf actors in Hollywood, Duchoeny is hopeful he’ll achieve that goal soon, but says the Canadian film industry needs to catch up. 

“In the States they have many opportunities for deaf individuals who are actors, but we don’t have that here,” he told CBC with the help of ASL interpreter Janice McLaren. 

The actor says he feels some optimism when he thinks of such recent films as CODA and shows like Echo, which feature deaf stars like like Troy Kotsur front and centre.

“They inspire me, and all over the world any deaf individual, because we see ourselves out there and we know that they’ve gone through a lot of barriers to get to where they’ve gotten,” said Duchoeny, who got the chance to meet Kotsur last summer.

“We want to make sure that we can break down those barriers [in Canada] as well.” 

Breaking down barriers

Duchoeny has a cochlear implant that helps him understand verbal cues and occasionally communicate verbally.

He says for him, there are a number of barriers to landing more prominent roles including a lack of education around deafness and alternate means of communication among casts and crews on set. 

“Often, hearing people feel apprehensive because they feel that we can’t do certain things or have limitations,” he explained. “They focus on deafness and they don’t look at solutions.” 

Duchoeny suggests hiring interpreters, texting back and forth to communicate, and making sure an ASL coach is available to help actors with speaking roles. 

The actor says he’s worked with crews in Ottawa long enough for most of them to understand and accommodate his needs, but that’s not something he takes for granted. 

He still sometimes runs into issues when it comes to auditioning for roles in other cities — which he does both in person and over Zoom in Montreal, Toronto and in B.C. — and he recalls times he wished he had an ASL interpreter available to allow him to better express himself. 

“ASL is my first language,” Duchoeny said. “It’s an accommodation that should be provided.” 

He adds that in instances like that, especially when he’s at a callback without an interpreter, he might stay anyway if it’s a role he really wants. 

But “if it’s a very heavy, intense [audition], then sometimes I just have to walk away.”

It’s something Duchoeny’s talent agent, Lisa Meuser of The Meus talent agency, has been advocating for, arguing for the importance of ensuring deaf actors can communicate with their industry peers and directors both during auditions and on set. 

“As much as they can lip-read, it’s really important for them to be heard,” she said, explaining why on-set ASL interpreters matter. 

Meuser says though more work needs to be done, she’s encouraged to see a growing number of roles for deaf actors in the last three years. 

Change should start in the writers’ room, union says

Chris Cornish isn’t so sure.  

ACTRA’s Ottawa branch representative says though the union has no direct role in casting, it does have talent databases available to industry professionals to help them hire and work with actors from different communities, as well as guides to improve accessibility. Those include a tipsheet on auditioning deaf actors. 

The overall goal is to promote diverse performers.

While he says there’s been a lot of progress in hiring more Black, Indigenous and LGBTQ actors in recent years, Cornish says he hasn’t seen the same growth in opportunities for actors with disabilities. 

According to Cornish, change needs to start in the writers’ room.

“I think one of the biggest challenges … is getting more roles written and more roles developed for deaf performers, and for performers of all abilities,” he said. 

1Department, one of Ottawa’s largest production companies — and through which Duchoeny has found several background roles — says highlighting these types of storylines makes sense if the industry wants to truthfully portray life in this country.

While the company primarily focuses on movies of the week and holiday flicks written for American TV networks such as Hallmark, Lifetime and the Oprah Winfrey Network, CEO Shane Boucher says it’s also looking to develop its own scripts and projects with inclusivity at the forefront from the beginning. 

Boucher explains that to meet Canadian broadcasting requirements for Canadian content, most production companies in Canada hire their cast and crews locally, but the stories themselves are written for an American audience.

He says that’s why despite a growing number of scripts that feature deaf and disabled characters, the roles are usually created with specific American actors in mind. 

To him, it’s just another reason why it matters to tell fully Canadian stories.

“I do think if we put a little bit more focus on some actual Canadian storylines and … use that kind of opportunity to also showcase people with different abilities in Canadian society,” he said.

“That’s a way in which productions in Canada can take advantage of that need [for Canadian content].” 

Despite the slow progress, Duchoeny isn’t giving up. Reflecting on his meeting with Kotsur, he says he felt reaffirmed in his decision to pursue acting — and hopes he can similarly inspire others like him. 

“I want them to know that they can pursue their dreams,” he said.