STAGE REVIEW : Defiance, More Than Disability, Is Key to ‘Lesser God’

When Sarah first appears in Mark Medoff’s “Children of a Lesser God,” she is an angry sphinx, all suspicion and swagger. Deaf and feeling out of place in the hearing world, Sarah cloaks herself in silent self-righteousness and cynicism.

James, the speech therapist asked to teach her, sees more mystery than threat in Sarah’s prideful surface. There is not only heat but intelligence in her eyes, so why is she satisfied with working menial jobs at the school? The bigger question--why does she ignore the example of the other students and refuse to speak--challenges him. James has to get closer to find out.

The subsequent relationship that develops between James and Sarah is what motivates “Children of a Lesser God,” which is playing at Orange Coast College in a sincere but sometimes overly sentimental production.

While their love is central, the drama’s gravity comes from the unraveling of Sarah’s attitudes concerning her deafness and finding the core of experience that has left her both an outsider in the hearing world and the world of deaf people trying to adjust.

Through her marriage to James, Sarah eventually seems to find some balance. Her humor isn’t so biting, her hand-signing loses the karate-chop rage she showed earlier on. Love has opened her heart--but not necessarily her mind. Sarah still adamantly refuses to speak, and James, despite his caring, becomes more obsessed that she try.

Sarah’s obstinateness is extreme, especially when contrasted with the activist Orin, one of James’ students who fights to force the school to hire deaf teachers. Her argument--that it is debasing to change herself to fit the image of the hearing world--seems selfish. Orin has the right idea--get inside the system and change it so the deaf are not a silent minority.

When James’ and Sarah’s relationship collapses, James wonders whether he asked for too much. Sarah, on her own again, must look at Orin’s example and the failures with James to decide whether her life has been a series of wrong choices.

Medoff doesn’t let us judge her--the play implies that it is impossible to understand the frustration and hurt someone like Sarah has lived through. Still, the hope is that she puts her mind and vitality to better use than defiant self-pity. At the end, Medoff provides us with that glimmer.

In Diana Christine Boyd, a deaf actress, director Alex Golson has someone who can communicate Sarah’s rage, vanity and tenderness. Boyd’s initial expressions may be too smirking, her hip-jutting body English too direct, but when she begins those whipping signs, leaning audaciously into James’ space, we get a sense of the complexity of the character. The gentle, girlish moments during the marriage’s good times are naturally simple.

Unfortunately, Rich Jackson as James is not always as simple. He tries to do too much--this James does very little in a small, unemotional way--and should bring it down some. Sarah’s silence requires much subtle reflection and reaction, not always bold amplification.

Steven Shults is excellent as Orin, conveying the character’s desperate and focused political commitment and equally desperate but unfocused feelings for Sarah. Teri Ciranna is, at times, too overwrought as Sarah’s confused and guilt-ridden mother but generally presents a sensitive, on-line portrayal.

David Scaglione’s sets are utilitarian and in a minor key, but effective. A few blocks are moved about between scenes to suggest a classroom, tree and restaurant. The imagination fills in the blanks.

‘CHILDREN OF A LESSER GOD’

An Orange Coast College production of Mark Medoff’s drama. Directed by Alex Golson. With Diana Christine Boyd, Rich Jackson, Steven Shults, Larry Blake, Teri Ciranna, Laura Hinsberger and Alice Diane Ensor. Sets by David Scaglione. Lighting by Lonnie Alcaraz. Sign language coach Lisa Marion. Plays Thursdays through Saturdays at 8 p.m. and Sundays at 4 p.m. through July 17 in the campus’s Drama Lab, Costa Mesa. Tickets: $5.50 to $7. (714) 432-5880.