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Take a Group Bow:

A Case for Inclusion in Youth Theatre 

By Timothy Stammeyer 

As a playwright, Timothy Stammeyer focuses on scripts and stories that are accessible to a wide range of young actors and theatre programs.  He has fond memories of performing plays from Pioneer Drama Service during childhood, and he considers it a privilege to contribute to their ever-growing catalogue. 

Growing up, there was no greater refuge than the theatre.  Amid the ever-changing dynamics of grade school, the stage was one place where I felt safe and seen.  Youth theatre directors, choreographers, and creatives are often noted for their inclusion.  We are champions of accessibility, believing all children have a right to participation.  There’s often a barrier, however, when it comes to inviting children with special needs into a production.  Many questions arise:  How will I teach them the blocking?  What if they forget a line?  What if they do something unplanned during the show?  The answer to all these questions is simple:  Be open.  Let’s break down the stigma, remove some mystery, and gain confidence in welcoming all children into our programs.

There’s no doubt that working with someone new can be uncomfortable.  Many of these barriers are based on anxiety and misunderstandings.  It’s important here to acknowledge that theatre has an unfortunate track record when it comes to portraying people who are different.  We don’t have to look much further than Broadway’s infamous Phantom to see how a character is crafted around his physical difference.  Even many stock characters lurk in this grey area.  Monsters and villains often have deformities, intellectual differences, or mental illness.

Fortunately, many directors and creatives have worked to change the tide.  More than ever, casts have become increasingly reflective of their communities.  But how can including children with special needs work in your program?  Here are some thoughts I’ve gathered over the years.

In special education, we talk about accommodation and modification.  Accommodations are supports to help students access the task.  In the classroom, this might look like extended time to take a test.  In the theatre, this might be installing a ramp and creating a scenic design that has enough space for a wheelchair.  Modifications are similar, but different in important ways for our children with exceptionalities.  They are changing something about the task itself to help children find success.  In the classroom, this might be adapting a lesson to meet the lower grade level of a student’s cognition.  In the theatre, this might mean adapting a script to accommodate a student’s reading level.

Knowing these distinctions, let’s explore some methods:

Be creative

As a playwright, I suggest finding creative ways to interpret the script and accommodate your needs.  Who says the detective must work alone instead of as a tandem?  Or that the three little pigs can’t be four?  I’d much rather take liberties with the script if it means children of all abilities can be involved.  Keep in mind, though, even with your best and most noble intentions in mind, you must get a publisher’s permission to make any changes to the script.  Thankfully, Pioneer Drama Service is much more flexible than most publishing companies regarding approving changes to a play or musical, so long as it does not change the plot or intent of the playwright in any way.  Please contact us for more information.

Don’t overthink it

Remember, kids with intellectual disabilities are still kids.  Set the ground rules of your rehearsals with all your actors.  Just know you might need different ways of communicating expectations.  Rebus boards and first/then instructions are easy to make and helpful for everyone.

Be careful of stereotypes

Like with the Phantom, be careful not to give actors parts that carry on the stigma.  Just as our communities are made up of a variety of people, so should our fictional worlds.

Trust your audience

Here’s the reality:  there will always be people, from child to adult, who go out of their way to bully those who are different.  Don’t let these attitudes win.  Almost always, audiences extend grace to young performers.  Don’t treat it as different and neither will they.

Fourth wall?  What fourth wall?

Sometimes the fourth wall crumbles.  I’ve worked with students who have stopped dancing to wave at their parents.  I’ve had a student who spontaneously screams at less-than-ideal times.  It’s okay.  Embrace it.

Ask for help

Many states require public schools to accommodate students with disabilities not only in the classroom, but also during activities.  Check your school’s policy, and don’t be afraid to reach out to other teachers or administrators.

Trust your actors

I’ve found that the best advocates for student actors are other student actors.  I’m always amazed at the care and intentionality our young people show to each other.  There are many ways to utilize this kindness, including a buddy system on stage, extra practice on dance breaks, prop and cue reminders, and many more.

Be open

Working with students that have more involved needs can be intimidating.  I hope you’ll find, though, that your programs will be strengthened by these students.  Remember, the inclusion of all young people leads to a kinder, more nuanced world, one that is needed both on the stage and off.  And when curtain call arrives, there’s no better sight than an inclusive group bow.