Amy Lemco, Arts & Life Writer ABINGDON, Va. — At its core, Barter Theatre has been about community outreach since a head of cabbage could be traded for a ticket in the 1930s. Recently, as awareness grows that not all have equal access to the arts, Barter has become a leader in local efforts for inclusion by staging a sensory-friendly performance of every Barter Players production in the Smith Theatre. These experiences are aimed at people on the autism spectrum or others who are sensitive to lights and noise and may need to vocalize or move around during the performance. Deemed “shush-free”, they are also well-suited to families with young children. “We have an audience for it,” says Barrett Guyton, Associate Director of the Barter Players. “We have been wanting to do sensory-friendly performances for years, but it was important not to do it half way—not to break trust.” After working with multiple companies—such as the Theatre Development Fund (the accessibility-training program for Broadway)—and having confidence because of the previous experience of Stage Manager Sarah Buck with sensory-friendly performances, Barter launched their program last fall with Adventures of Tom Sawyer. In October, the Players staged their sensory-friendly performance of Sleepy Hollow (adaptation by Catherine Bush). The audience included local grade-schoolers on the autism spectrum, Evan Owens and Peyton Stiltern, and adults with developmental disabilities from Summit Support Services in North Carolina, who had driven an hour-and-a-half in heavy rain to attend. Before arriving, attendees can view a “social narrative” specific to the show on Barter’s website. (Social narratives use photos and words, describing to help people with autism navigate social situations and appropriate social responses. In this case, the narratives explain everything from finding a seat to a detailed synopsis of the play, as well as the fact that it is okay to clap, vocalize, and move around). At the theatre, printed social narratives and characters cards are given out for the audience to refer to during the performance. The theatre also provides hearing protection (donated by Abingdon Falls Hearing Plaza) for those who may be sensitive to sounds. Audience members are encouraged to bring comfort objects or iPads, if needed. The lounge is converted to include a screened-off quiet space that includes large, colorful floor pillows, puzzles and coloring pages. So there are no surprises, the costumes are shown by the cast, and costume changes are explained, as are lighting cues and sound effects (which are run at about 70% of standard levels). Details of the set and costume construction, as well as prop use, were explained--one highlight was the use of football shoulder pads and see-through fabric in the making of the Headless Horseman. “If you feel afraid,” Libby Zabit (playing Mrs. Van Ripper and other parts) said to an audience, “you can close your eyes, you can use your hearing protection or we can all be a little bit brave and get through this together.” That got a big laugh from the Summit Group. Next, the audience was invited to the stage to interact with the actors and touch set pieces, props and costumes. Tobie, 25, a member of the Summit community, was especially interested in where actors were from and asked questions about set design. Swatches of the fabric used in the costumes were available for audience members to take to their seats. After a 5-minute reset, it was time for the show. Bush’s excellent adaptation was enhanced by the chemistry of the actors. The consistency of their subtle reactions and insider-glances built a silent backstory: the convincing intimacy of a small farm town. The plot, involving the need for labor and art in rural communities, oral traditions and ghost stories, may feel eerily relatable to local residents. Sydney de Briel’s costumes, Cadence Lamb’s choreography, and Sound Design by Sarah Van Deusen and Matt Green, were other standouts of the production. The audience experience appeared to be filled with joy. The children and Summit group were uninhibited in their laughter. Evan, 10, seemed especially happy with the music and headphones provided. Peyton, 11, beat out the sound of galloping on the handrail in time with the actors, who created the sound effect by drumming on the benches that signified their horses. Caleb, 25, was highly attuned to the entrances and exits of the actors and main plot points, affirming what he noticed with the Summit staff sitting beside him. After the play, the audience was given another meet-and-greet and photo op with the warmly enthusiastic cast. “They really believe in the world,” said Zabit. Believing that theatre is a “useful tool in spreading empathy and compassion,” Zabit is passionate about the message of both performance-content and audience inclusion. Zora Vredeveld (Mrs. Van Tassel and other roles) said it is particularly wonderful that the entire front row at Smith Theatre is made wheelchair accessible, “not just one or two seats.” “Sometimes as an actor,” says Barrett, “if an audience is making noise you think you’re not doing your job, but with this, it’s different—it’s engagement.” Each performance is attended by a community-support team member, such as Judy Wilson, who works with local schools and attends in case ushers and audience members have questions or need other assistance. According to Wilson and Peyton’s mother, Regan, she and other community members are central to getting the word out about these performances. (To understand how at the forefront Barter is by offering this service, TDF itself began sensory-friendly performances only as recently as 2011.) Wilson pointed out that in other regions, people with sensory-needs might be offered one or two opportunities a year in the arts. What is great about Barter, she said, is their commitment to offering this service every performance for a full season of inclusion. Evan’s mother, Bridget, agrees. “We’ve had a great experience with Barter. They did an incredible job meeting all needs for my son--all the effort they put forth, hospitality and information—enable me and him [sic] both to enjoy the show. Without Barter, he would never have been able to go see a play.” Yet, there is room for growth in the larger community. Peyton’s mother, Regan, volunteers at The Center for Family Involvement through The Partnership for People with Disabilities at VCU. “Our area has more limited resources than other parts of the state,” said Regan. “So locally, it is often parents, teachers and therapy officers creating programs.” The Tri-Cities Champions is one example. The Champions meet for movies and sports, where neurotypical kids help with things like batting and running the bases. “We don’t exclude anyone,” said Regan. William King Museum of Art recently contacted Regan to help spread the word about their upcoming sensory-friendly and accessible program. Just Jump, located in Bristol, Tennessee, also offers days for special needs. These offer “social experiences [the kids] don’t get otherwise.” “I enjoy taking Peyton everywhere I go,” said Regan. But, knowing the atmosphere at Barter is “not so uptight, we can enjoy the art of the play,” continued Regan. The final performances of “Sleepy Hollow”, scheduled Nov. 8–9, 12–13, are nearly sold-out. Discount student-rush tickets may be available at the door for the last few seats or in case of cancellation. The next sensory-friendly performance will be next season, when the Players return in spring or early summer. It is highly recommended that anyone interested in theatre attend, especially undergraduates with business, education and theatre majors. Editor’s note: Thank you to everyone whose effort and time made this article possible: The Barter family, especially Barrett Guyton, Diane Wait and the community at Summit Support Services, Judy Wilson, Regan and Peyton Stiltern, and Bridget and Evan Owens.
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