As the curtain closed on the finale of the popular musical, Annie, the stage was filled with 40 middle school and high school actors. Among them were Adrian, who has Asperger syndrome; Terry, who is a dwarf; Caitlinn, who has brain damage and is in a wheelchair; and Sharon, who has Down syndrome. The audience stood and applauded loudly. It was obvious they loved the show! As a director with 36 years experience in K-12 and community theater, I am pretty sure the entire cast enjoyed the experience; I am entirely sure that they all learned something.

Almost all schools offer some sort of theater program, and many towns produce community plays. These events can be wonderful opportunities for children with special needs to gain a sense of belonging, develop social skills, and use their creative imaginations. Adrian, Terry, Caitlinn, Sharon, and other kids like them have been some of the best actors I have worked with as a director because of their enthusiasm, inhibition, and general joy for life. They lift the entire production up.

But often individuals with special needs don’t become involved. Why? Perhaps the task seems too daunting or the chances of getting cast seem too small. Let’s discuss some of the questions parents and children may have about getting into a play.

How will this experience benefit my child? Is it worth it?

Every human being needs a creative outlet. The chance to express oneself enhances everybody’s sense of self. Theater provides this plus the added benefit of being able to pretend to be someone else for a time. It is high-level imaginative play, which is carefully nurtured under the watchful eye of the play’s director. Deciding how to become a character is critical thinking in an accessible and enjoyable form.

Being in a play is belonging. There is no activity in the world in which teamwork plays a greater part. Each person in the company is necessary and has an important job, which must be done each time the show is performed. If you don’t say your lines, do your dance, sing your song, or pull that curtain on time, the show does not go on. Each person in the company depends on the rest of the ensemble to do those jobs. What a marvelous lesson for anyone! I count on you; you count on me. We get this done by working together. I have your back, and you have mine.

Having that sense of responsibility is empowering and validating. Knowing that the people in the play expect you to do your job is also equalizing. For once, a person with special needs is not different; they are an actor or technician doing what they must do to make the play work.

Inevitably, due to the extremely collaborative nature of theater, people who are involved in plays, whether in a school or a community, develop a sense of   “the group.” Usually, this is a very deep and committed group, almost like a family. Becoming a part of this network of friends extends into other parts of the school and community such as classrooms, cafeteria, sporting events, or walking down the street. You are my friend; we were in the play together. The other side of this is the audience member who recognizes you from the play. Hey, you were in that play; you did a great job! Ask anyone who has ever done any amateur theatrical activities, and they will tell you this is true.

Also, rehearsing a play is a chance for laughter and fun. (Even serious plays!) At first, nobody quite knows what is going on or what they are doing, and in order to find out, everyone has to take chances. Here is where the individual with special needs excels. They are accustomed to taking chances and putting themselves out there. They do it every day. Sometimes they succeed, and sometimes they fail. But they keep trying. This is the best way for an actor to think. The rehearsal environment should be nonjudgmental so that everyone feels free to fail. The best directors make sure of this. In addition, the rehearsal atmosphere should be full of humor. By the time the play has been rehearsed and is in production, the cast and crew will have laughed thousands of times. The little jokes known only to cast and crew add to the spirit of camaraderie. And the best part is, they will have laughed WITH each other, not AT each other.

So, to answer the initial question: is it worth it? Yes, yes, yes, yes, yes!!!

How Do I Find These Opportunities?

The first place to look is school. A call to your child’s teacher or the special education director will tell you if the school has a theater program and when the auditions are. The next step is to contact the directors. I first began casting students with special needs when a special education teacher told me about a girl in her class who was particularly animated and loved to perform. I suggested she audition for You’re a Good Man Charlie Brown; she did and got the part of Sally Brown. She was terrific. So, you could ask one of your child’s teachers to speak to the director, or you could do it yourself. Explain why you are calling and ask if any of the shows planned for the year would be suitable ones for your child to audition for. Ask if your child might have a chance to become involved. Most K-12 directors are always on the lookout for talent and would welcome the call. Briefly explain your child’s strengths and limitations (Would he/she need an aide or could a student buddy help? Can he/she learn lines? Dance? Sing?) Explain that you would be willing to help in any way possible, too. Schools are mandated to provide these opportunities, and educators should be aware of this.

Other places to look for shows would be your community education office and churches. In any case, contact the director using the procedure outlined above. And if your child auditions but is not cast, try not to be discouraged. Find out if they could serve on the crew in some capacity. Perhaps they could pass out programs while dressed in an appropriate costume. Maybe they could run the curtain or spotlight or paint scenery. Becoming involved in any small way is a foot in the door for the next show. Again, talk to the director. Be honest and ask them to be honest in return. Should my child audition again or is this just not the place for him/her?

Got a Part! What Now?

Communicate with the director and other personnel but be careful not to become a bother. It is a lot of work to put on a play, and these folks are busy.

Take the time to find out what you need to know and to let them know who you are and who your child is. Make sure they know they can call you at any time if they need to and then BACK OFF. The best way to make sure your child never gets another part is to become the consummate pest who is forever peeking over the shoulder of the director. (Aside: Being truly helpful is another matter entirely. Offer to make costumes, find props, do publicity, etc. if you have the time and desire. Most directors would love that kind of assistance, and it is a sneaky way to become a presence in the show.)

Get the script. If your child has lines or lyrics to learn, get going on that early on. When my son with autism was in a play in sixth grade, we worked on his lines every night for six weeks. (In a pinch, my husband and I could have been his understudies!) Ask the director if there is anything you can do to help make your child sound and move like the character. Sometimes they will tell you. Other times, they will prefer to work on this during rehearsal.

Find out how the director feels about your attending a few rehearsals. Whatever they say, respect it. Some directors like a closed rehearsal and some do not care. Two things to remember about rehearsals: 1) Figure out what your child needs to do as closely as possible, so you can practice with them at home. This could be as simple as going to a few rehearsals and writing it down or having the director appoint a buddy to write it down for your child as needed. 2) Go to as few rehearsals as possible. Bug out!! Remember this is their thing, not yours, and if they are to reap the most benefit from it, you should be absent. Face it, you need the break as well.