Lauren Ridloff Is Making Space for More Deaf Actors, One Enlightening Conversation at a Time (2024)

Born deaf to hearing parents, Lauren Ridloff was 8 years old when she saw Children of a Lesser God in theaters. The 1986 drama, long considered a breakthrough for the deaf community and for Marlee Matlin, who won an Oscar, a first for a deaf actor, impressed the young girl. “My parents felt that the power of representation was more important than the fact that the film was R-rated,” says Ridloff, who coincidentally got her start in a Broadway revival of Children of a Lesser God before landing coveted roles in The Walking Dead and Eternals, in which she broke ground as Marvel’s first deaf superhero. “My eyes were covered for some swearing and some of the hot scenes, but my eyes were open to seeing deaf people and deaf culture represented on the big screen.”

Similarly, Ridloff’s youngest son, Wyatt, who is also deaf, was 8 years old when he witnessed actor Troy Kotsur become the first deaf man to win an Oscar for his role in the 2021 film CODA, 35 years after Matlin’s historic win. CODA, which stands for “child of deaf adult,” tells the coming-of-age story of Ruby, the only hearing person in her deaf family, who grapples with helping her family’s struggling fishing business and pursuing her passion for music. “I attended the after-parties that night, and people kept congratulating me, so in a way, I felt like a winner, too,” says Ridloff. “Does that mean we have to wait another 35 years, though? I hope not! Change is happening, but not fast enough.”

Though Ridloff is aware of how her own on-screen work has encouraged Hollywood to amplify the stories and use the talent of deaf people, the 44-year-old Tony Award nominee says her “daily interactions with curious and receptive people” feel like the greatest impact she can make right now.

Here, she opens up about helping audiences shift perspectives and using her platform to push forward meaningful change.

On Hollywood's misperceptions about deaf culture

“When I join a production, oftentimes the mindset is ‘This woman is deaf. What does she need? What does she want? Let’s give her what she needs and what she wants because it’s her issue, it’s her challenge.’ But I’ve been deaf all my life, so it’s not a challenge. The only time my deafness becomes a challenge is when I’m around people who do not know any better. Their ignorance is a challenge, not my deafness. If they shifted that mindset to ‘What do we need to work together?’ I believe that would take a lot of the burden off deaf actors, who are constantly thinking, Wait, am I the one who’s causing all these issues?”

On the importance of telling your own story

“There simply is not enough deaf presence in the storytelling process. People are uncomfortable with what’s unfamiliar, so when I focus on the familiar to find that common ground, connection happens. When people switch gears and see more clearly what needs to be brought to the table for a successful collaboration, that is when the magic happens. That is the attitude I want to see. I’m talking about equity. I mean, it’s really fabulous if everyone learns how to sign flawlessly, but that honestly should not be the goal but more a by-product of a successful collaboration. The most important thing at the end of the day is not necessarily how you communicate but what you communicate.”

On the incremental change she’s seeing—and how to take it further

“With each project I am involved with, I bring in more foresight from the previous project and can become more specific and proactive. The biggest shift for myself as an actress is to not be sorry about my asks. Choosing my interpreting team is necessary because interpreters are my voice so it is very personal. ASL consultants are another important ask I make, and also an ask that many people in the industry still do not completely understand. This is a relatively new but very important person to bring onto set, just as important as an intimacy coordinator. What I push for is to have another deaf person, who is a native signer and knowledgeable about anything related to deaf culture and language to work with the actors and director. The ASL consultant is what gives other people the confidence to work with deaf talent like me. The ASL consultant is also my sounding board for my translations and works with the director who doesn’t know sign language on how to shoot signed dialogue. There needs to be more content, more diversity casting, and more representation behind the camera. There’s plenty of room for everybody. We just need to keep that door open.”

On making movies accessible for all

On intersectionality within the deaf community

“I am so used to talking about my deaf experience, but not my experience as a Black Mexican woman, so I sometimes get lost on how to merge all those identities together. I have ongoing conversations with my older sister, who is not deaf, about what identity I put first. She assumed that it would be my Blackness because that’s how I present to the world. But I put deafness first because I communicate with the world through sign language, and that’s how I see and receive feedback on my differences.

Historically speaking, deaf culture is viewed from a white prism. Educators of deaf people are primarily white; American Sign Language is based on white deaf people. So it makes me see how white my deafness was. Now, I see myself as a Black and Latina woman who’s deaf. However, I see my identity as fluid because it depends on who I’m with. If I’m with a person who uses sign language, then the deaf part is not at the forefront. However, if I’m with a person who doesn’t know sign language, then my deafness moves to the forefront because it becomes so much more present.”

On stepping into her power as an advocate

“I used to think, Who am I to tell everyone’s story? How did I become the voice for my community? When I became Miss Deaf America [in 2000], I automatically became an ambassador for the entire deaf community. I had to stay diplomatic, but I don’t have to continue that role anymore. I am proud and excited to have the opportunity to push for a positive change, but I don’t have to only use the word we; I is not a bad word. My story can only be told by me, and nobody has to agree with it. When I had that epiphany, I felt like the weight was lifted.”

This interview has been edited and condensed for clarity.

This story was created as part of Future Rising in partnership with Lexus. Future Rising is a series running across Hearst Magazines to celebrate the profound impact of Black culture on American life, and to spotlight some of the most dynamic voices of our time. Go to oprahdaily.com/futurerising for the complete portfolio.