For a couple years now, I’ve been trying to think how I could be using YouTube, but any idea I came up with just seemed so time-intensive. Tutorials? Interviews? Analysis of plays and musicals? It all took research or extra prep that I just did not have time for. Well, I’ve finally landed on vlogging. A simple look-at-the-camera vlog. I’ve had younger and/or newer playwrights tell me that just hearing about my journey and work as a playwright/composer has helped them somehow. So, I’m starting a vlog and maybe someone will stumble upon it and find it meaningful for them. Who knows. I’ll not make much of a hullabaloo because I’m also learning how to vlog as I… well, I explain all this in the video, so just watch if you like.
Thanks to the generosity of some individual donors, Bay Area Children's Theatre is able to take Story Explorers on the road! We are able to visit a few special needs classrooms this year and present our sensory-friendly, interactive shows designed specifically for them! Words don't do the experience justice, but I think this photo by Melissa Nigro captures beautifully the wonder and meaning that performing these shows brings to me.
A shorter version of this year-in-review was e-mailed to my Newsletter recipients earlier this week. I can often be hard on myself, focusing only on what else I need to achieve, and staring at task lists and check boxes in order to feel like I'm getting somewhere. I can feel like I'm falling behind or failing or not doing enough. So these kinds of reviews help me see the things that I have accomplished, and remind me to take a moment and be proud of my work.
I want to start by acknowledging that for many of my friends and colleagues, 2017 has been a very difficult year. I know too many people who have felt the ripple effects of political policies that seem to strengthen messages of hate and bigotry, rather than freedom and diversity. Additionally, there seems to have been an onslaught of natural disasters this year that continues to this day with the Southern California Fires.
Still, in the face of these trials and traumas, I have also seen amazing creative work flourish around me. I am honored to be part of a theatre community that is committed to being bold and unrelenting in its story- and truth-telling. 2017 has also yielded much fruit for me in my writing endeavors. Here's just a snapshot of highlights by month:
Bad Kitty On Stage! opens at TYKEs in Rochester, NY
Conducted in-class workshops for Story Explorers
World premiere of Story Explorers at Bay Area Children's Theatre
Invited as a Guest Speaker at UC Berkeley to discuss Story Explorers
Helped out as a "Resume Doctor" at the Theatre Bay Area Conference
Workshop of The Four Immigrants at Playwrights Foundation
World premiere of Step Up Crew begins touring Bay Area schools
Bad Kitty On Stage! opens at the Gifford Family Theatre in Syracuse, NY
Table Reading of Song of the Nightingale at Town Hall Theatre
Rehearsals for The Four Immigrants begins at TheatreWorks
World premiere of The Four Immigrants at TheatreWorks - my first LORT Production
First Table Read of Inside Out & Back Again at Bay Area Children's Theatre
The Song of the Nightingale opens at Town Hall Theatre
Taught a "Song-aturgy" class at Musical Cafe
The Four Immigrants receives the Theatre Bay Area Award for Outstanding World Premiere Musical
Workshop for Inside Out & Back Again at Bay Area Children's Theatre
Now onward to 2018!
When people would ask me prior to the opening of Story Explorers what creating theatre for autistic children looks like, I would lay out specific elements: emphasis on sensory experience, less reliance on verbal storytelling, more reliance on moments and patterns, inviting and non-constrictive seating, loose script and song structure that allows for interaction, etc. Now that the show has closed, I believe all of these elements can be encapsulated into two words: openness and flexibility.
Creating a theatre experience where autistic children and their families felt welcomed meant letting pre-conceived ideas about theatre get challenged and revised. It meant creating space for ticks, interruptions, outbursts; for runners, dancers, sing-alongers; for kids who loudly and unabashedly share their opinions about the show mid-performance. It meant making it easy for parents to exit the space if needed without feeling like hundreds of eyes were watching them. It meant structuring the show in such a way that if a moment really connected with a kid, we can linger there just a bit longer than rehearsed.
In order to accomplish all of this, it was paramount that we assemble a team of actors who worked well with children, who could improvise and think on their toes, and who were open to a collaborative and often amorphous creative process. In short, we needed actors who were also teachers. Director Hannah Dworkin and I both decided early on that it made sense for us to be two of the performers, since the knowledge we had gained from the research and in-classroom workshops for the show seemed inextricable from the final performance. This didn't feel like a show to "hand-off" to actors. We found excellent collaborators in Anna Smith, André San-Chez, and Austin Zumbro, each of whom contributed ideas, talents and hard work to bring the show to fruition. We also had a ton of fun, playing and joking around along the way - another form of being open and flexible with each other!
Even though there was a script, we all understood that the show could change depending on the moment. If a child vocalized or spoke, we responded or repeated back what we heard. If a child seemed keen to help us perform part of the show, we invited them to the stage area and encouraged them to do so. If a child backed away from us, we respected their space and didn't insist on interaction.
One particularly memorable exchange I had was with a boy who made it very clear at the beginning of the show that he would provide his unfiltered commentary throughout. For example, of Sharky, the Story Shark, he declared "That's not a shark! That's a stuffed animal!" One of my tasks in Story Explorers was to float an inflatable astronaut around the room during our outer space sequence, asking kids to high-five it, which would result in a "Whoosh!" and the astronaut floating away. When I asked this boy to high-five the astronaut, he said, with a rather serious expression on his face, "I'd rather high-five one ounce of atmosphere." So, I pinched my fingers in the air, as if I had grabbed a speck of dust, and held my hand out to the boy. "Here," I said, "One ounce of atmosphere." I knew I had successfully made contact when a small smile crept onto his face. He high-fived my pinched fingers, and I released the ounce of atmosphere back into the... well, atmosphere.
This is just one of the many magical encounters we all experienced throughout the run. These moments would not exist if we were insistent on keeping the show running on one track every single time. Because the actors had practiced openness and flexibility with each other during rehearsals, everything flowed quite well when needing to practice it with our audiences. A visible transformation would occur where parents - who at the beginning of the show would be tense and concerned with monitoring their kid - would discover that they could relax a bit, and that their kid's behaviors were neither shocking nor disruptive in this theatrical space, but rather accepted and incorporated into the show experience. I think the cast (and our stage/house manager Chris!) would agree that performing Story Explorers often left us speechless and moved.
Of course, this does not mean that we got everything right. Being open includes the strong possibility of getting things wrong, which is why we are conducting post-show surveys and encouraging our audiences to get in touch with us and tell us what they thought about the show. We want to make sure that we stay connected to the community we're reaching out to, instead of simply patting ourselves on our backs without a second thought.
The journey of Story Explorers isn't over - we are looking at future opportunities for the work, possibly turning it into a local touring show. Personally, I want to carry what I've learned from the experience about openness and flexibility into my other work. As a writer (indeed, as a human being), I can fall into the trap of rigidity, whether it's having a narrow viewpoint or only wanting things to be executed my way. While there's something to be said for asserting oneself and one's boundaries, there is also great value in balancing that with an open spirit, one that can loosely grip instead of clutch; one that can have intense, critical dialogue without it turning into a fight about who's right. I also want to see my life as full of open possibilities rather than merely consisting of set tasks and goals. As Shades, one of the characters in Story Explorers, raucously tells us:
"Your life is your own story,
A story to explore,
Your life is your own story,
A story no one's ever heard before,
Now you can tell your story,
A story to explore,
Yeah, you can tell your story,
A story no one's ever heard before!"
Rehearsals for Story Explorers have begun, and for the past two weeks, we've been able to visit special needs classrooms to try out elements from the show. We've been getting positive responses from the students and teachers, as well as helpful feedback as we continue to craft the work together.
One element of Story Explorers we are really excited about is Sharky, the Story Shark! Sharky is a soft, friendly puppet who serves many different functions in the show. First, Sharky is a sort of buffer between the children and actors, in case the human-to-human interaction proves undesirable. Sharky straddles that line between person and object, which can be more inviting for a child with autism. He was intentionally constructed with a singular facial expression, so there would be no need to read emotional or social cues. Sharky also verbalizes in a nonsense "shark language," sending the signal that in our theatre space, everyone can communicate in their own way, without needing to follow the norms of verbal language.
Every interactive element in the show is offered to Sharky as well as the kids, turning the puppet into a sort of example or guinea pig. If a kid is feeling uncertain about a moment in the show - say, playing with clay - they might look over and notice that Sharky seems OK touching the clay and decide they will as well. Sharky is also very huggable and pettable. Lots of kids enjoyed interacting with Sharky in our classroom visits. In a few classes, they also immediately called out his name "Sharky!" when they saw him enter the room - which made me think I named him well.