At age 16, my son Cash’an had never seen a live stage play, until last December. While that may not be uncommon for some, my family has always been immersed in the performing arts. For years, my daughter, Camiryn, now majoring in theatre (and public relations) in college, has performed in a slew of musical theatre productions. My husband, Maurice, and I are both stage actors. Cash’an has also performed in Christmas holiday stage shows at the special needs school he attends. To see him and his other peers on stage is one of the most treasured experiences for our family.  Still, while our family has often shared our love of the stage and live theatre through our performances, Cash’an has always been left out. He has never seen any of us perform. His challenges with autism always took center stage.

Autism, a neurological disorder that affects communication, behaviors, sensory perception and how people learn, can make attending a live theatre performance in a typical setting challenging for people on the spectrum. The loud sounds, bright lights, dialogue and actions on stage can be overwhelming to process for someone with sensory perception challenges. The reaction may cause them to spiral into an unexpected, uncontrollable meltdown of physical behavior, or a fast retreat out of the theatre.  I never took the chance, as such behavior could be distracting to his sister or other performers on stage.

Still, the inability to share the joy of theatre and introduce another world of imagination to Cash’an had for long been disheartening for me – until last year. My family and I were ecstatic to take Cash’an to a sensory friendly performance of A Christmas Carol at Hartford Stage.  It was such a big deal that his sister wanted to take a trip home to join Cash’an and our family for this magnificent milestone (but could not because of exams).  For our family, it was a gift to be able to share the arts with Cash’an and one of inclusion for him.

I did not know how Cash’an would respond his first time at a live theatre show – whether he would make random verbal sounds or offer a momentary bounce in his seat.   At this show, it also didn’t matter. The first important factor was that he would be accepted into an environment where he would not be judged for his challenges, but would instead be embraced. There was some comfort in knowing there was a room for my son to retreat to if the setting was too overwhelming, activities in the lobby and fidgets for him to hold to help manage himself in a sea of sensory triggers, from the crowds of people to the noises and energy, and the excitement from the day.  The staff also had headphones at the ready if he needed them. Thanks to a well-planned out sensory friendly performance, Cash’an, along with his peers and their families who attended, seemingly managed well in the audience.

During this performance, the theatre remains slightly lit – a departure from the darkened house lights of traditional shows.  Music levels are lowered.  Bright, strobing lights are eliminated, as are jarring sounds, like the clanking of metal chains – which is removed for this performance. Like many parents, I also did not know how Cash’an would react to other show elements, such as flying masked ghosts.  I thought if he could see a human face behind the mask, it may avoid any potential negative reaction to seeing the ghost characters on stage, more out of unfamiliarity than fear.

Hartford Stage not only had actors dressed in costumes holding their masks that audience member could see and touch in the lobby before the performance but also baskets of  material used for  snow in the performance, so that audience members could touch it. Cash’an, with a bit of reservation, touched a mask, and smiled when I asked the actor to put it over her face and take it back off.

I do not believe Cash’an followed the plot of A Christmas Carol or the dialogue of the characters. He did take in the performance punctuated by music, dance, movement, costumes and various levels of emotion in the dialogue actors had with each other – without retreat. The biggest success is that he was able to sit through a live theatre performance where he was welcomed – even catered to – with his family and a community of peers.

Encore.