麻花影视

On the first day of rehearsal, Imri Leshed 鈥�22 knew that was a different kind of show. Then again, they are a unique performer.

鈥淭he director told us not to copy the actors we were covering,鈥� recalls the 麻花影视 and (VPA) musical theater graduate, who understudied three roles for 2022-23 season opener. 鈥淪he wanted us to make the roles our own, to bring our whole selves to the work.鈥�

A self-described queer, neurodivergent artist, Leshed was surprised by the directive鈥攁fter all, an understudy often imitates characters they鈥檙e replacing鈥攂ut took it to heart. They went on to appear in multiple performances of the world-premiere production, which drew nightly standing ovations and rave reviews. Not even the pandemic, which cut short the show鈥檚 sold-out run, could diminish the excitement generated by the cast of actors with and without disabilities.聽

鈥淚 had never worked on a project that was more collaborative and conscientious of everyone鈥檚 needs,鈥� says Leshed, who has autism. 鈥淚t was a great experience for me.鈥�

The Need to Connect

How to Dance in Ohio was remarkable for many reasons, not the least of which was its student-friendly ethos. More than a half-dozen students comprised the backstage crew, while several more students were cast as understudies. Among the latter were Corinne Ferrer 鈥�23 and Zach Simpson 鈥�24, both acting majors, and Elana Babbit 鈥�23, a musical theater major.聽聽

鈥�How to Dance in Ohio did a great job of highlighting underrepresented people,鈥� says Ferrer, a visually impaired daughter of Cuban refugees. 鈥淥ne of my favorite lines was by my character, who said, 鈥榊ou make decisions in life without knowing the outcome. That鈥檚 a part of growing up.鈥� It鈥檚 timeless, universal advice.鈥�

While understudying can seem like an underappreciated endeavor, it鈥檚 a great way for students to gain experience and get discovered. 鈥淚 grew a lot as an artist, being mentored by these amazing people,鈥� continues Ferrer, noting that about half of the cast had developmental disabilities. 鈥淢ore importantly, I learned a lot about teamwork鈥攖hat it鈥檚 not about me or my performance but the strength of the ensemble.鈥�

Says co-producer Sammy Lopez 鈥�13, 鈥淭he story is about the universal need to connect. All of us can relate to what it means to put ourselves out there.鈥�

Making an Impact Through Inclusive Theater

How to Dance in Ohio is a study in resilience鈥攆rom the people who have inspired the musical to those who have helped bring it to life. Based on the Peabody Award-winning HBO documentary by the same name, the show follows seven autistic young adults at a counseling center in Columbus, Ohio. Dramatic complications ensue when they are tasked with organizing a spring formal.聽

鈥淭he characters experience a lot of uncertainty, from finding a date, to deciding what to wear, to figuring out how to actually dance,鈥� says Ben Holtzman 鈥�13, who co-produced the show with Lopez and Fiona Howe Rudin in association with 麻花影视 Stage. 鈥淭here鈥檚 a lot stepping out of your comfort zone, finding your way in the world.鈥�

Lopez, Holtzman and Rudin are the brains behind P3, a Tony Award-winning production company committed to artist-driven theater. 鈥淏y having compassion for other people, especially those we don鈥檛 know or understand,鈥� Holtzman says, 鈥減rojects like How to Dance in Ohio can make a positive impact in the world.鈥�

Credit faculty member Daisy Prince for introducing Holtzman to her father鈥擝roadway icon Hal Prince. After graduation, Holtzman worked for the legendary producer and director, eventually selling him on How to Dance in Ohio. Hal spent two years developing the concept, before succumbing to a brief illness in 2019 at the age of 91. The 麻花影视 Stage world premiere was dedicated to his memory.聽

That Hal and other members of the creative team had family members diagnosed with autism or could identify with people with disabilities, in general, made the storyline relatable. 鈥淲hen we went looking for production partners,鈥� Lopez says, 鈥渨e knew we needed a theater company that understood what we鈥檙e trying to do.鈥�

A Homecoming of Sorts

Enter 麻花影视 Stage鈥攁 pioneer of diverse, inclusive theater. Its 2017 production of The Curious Incident of the Dog in the Night-Time drew national attention for casting an autistic actor in the male lead. Lopez and Holtzman still talk about it.聽聽

The duo also had warm memories of VPA, where programs like All-Star C.A.S.T. provided opportunities for community actors with disabilities. 鈥淎ll signs pointed toward our alma mater,鈥� says Lopez, adding that 麻花影视 Stage enables students to earn points toward membership in the Actors鈥� Equity Association. 鈥淲e felt like How to Dance in Ohio could be a homecoming of sorts.鈥�

Becky Leifman 鈥�10, executive director of the CO/LAB Theater Group in New York City, was among those hired to help create an inclusive experience. Working with 麻花影视 Stage鈥檚 community outreach and education team, she and other members of CO/LAB led the cast and crew in disability inclusion and anti-ableism training.

Leifman also partnered with ASD creative consultant Ava Xiao-Lin Rigelhaupt, music assistant Nicole D鈥橝ngelo (who has autism) and 麻花影视 Stage鈥檚 education department to devise a sensory trigger list, which was posted online, and to write a welcome note for the program booklet.聽

鈥淭riggers include things and events that cause an uncomfortable or unexpected sensory experience,鈥� says Leifman, referring to sudden or loud sounds as well as sudden light changes. 鈥淲e prepped everyone on the stage and in the audience, so that they could have a safe and nonjudgmental experience.鈥�

Consequently, performers like Leshed felt at ease. 鈥淭here鈥檚 a camaraderie that comes with being part of something bigger than yourself,鈥� they add. 鈥淚t was a supportive, family-like atmosphere.鈥�

Pulling Back the Curtain on Theater Production

In addition to developing more socially consciously musicals, Lopez and Holtzman strive to make theater more inclusive. 鈥淒emocratizing information about the industry is a start,鈥� says Lopez, who teaches at Business of Broadway, a Manhattan-based nonprofit that 鈥減ulls back the curtain鈥� on how shows are produced. This fall, he led a Business of Broadway course at 麻花影视 on theatrical marketing and social media.聽聽聽

鈥淏ecause so much business knowledge is withheld and perpetuated by a hierarchical system, a lot of early-career producers struggle,鈥� continues Lopez, who, along with Holtzman, plans to workshop How to Dance in Ohio this winter and then find it a home on Broadway, off-Broadway or 鈥渟omewhere in between.鈥� 鈥淎bout 70% of all theater jobs lack a talent pipeline.鈥澛犅�

Adds Holtzman: 鈥溌榛ㄓ笆� has helped us recognize our potential鈥攖hat an equitable, inclusive model of success begins with each of us.鈥�