What was your motivation behind a sensory friendly performance?


IN THE SPOTLIGHT


SENSORY FRIENDLY NUTCRACKERS


Kathy Wilsey of Dallas Repertoire Ballet +


Nicolina Lawson of Ballet North Texas Reveal What Goes Into Producing Performances for Children, Families + Adults with Sensory Sensitivities, Autism Spectrum Disorder + Other Special Needs


KW: The motivation for the Sensory performance is that I, as Executive Director, wanted to do something special for the Dallas Repertoire Ballet’s Silver Anniversary of The Nutcracker. I was motivated by the NYC ballet companies who had already started this type of outreach. We procured funding from the Richardson Cultural Arts Commission in July of 2017 for the first ballet “sensory performance” in the Dallas area. The Grant allowed us to deeply discount tickets for this show. NL: Simple answer, making art accessible! While there are many opportunities to see dance around the metroplex, those that have sensitivities to dramatic lighting and loud music are at a disadvantage. We firmly believe that no one should miss out on the classics and traditions that ballet and other forms of dance have to offer.


What were some of the obstacles on putting on this type of performance?


KW: The obstacles for this type of performance are to lessen the auditory and visual stimulation. Sound must be lowered to certain decibels. Lighting has no flashes, strobes, or drastic changes. Characters who wear heads, such as, Nutcracker, Rats, etc. are shown on stage prior to the performance without their heads. Houselights are kept 50% up so children can come and go as needed. Electronic devices are allowed as they are used for communication. There is a Quiet Room and Activity Room in the Lobby that is staffed with an Occupational Therapist, OT interns from TWU, and an EMT. At our website, danceada.com, our Chairman, Lara Ross, constructed a complete walk- thru of the Eisemann Center facility, ( ramps, ADA seating, location of Quiet rooms) and a complete visual telling of the Nutcracker story so families feel more acquainted with the setting before attending. NL: The biggest obstacle for Nutcracker has been finding ways to adapt the performance without losing the magic and iconic moments. We are working with our amazing lighting director, Lisa Miller, to make sure the stage and dancers sparkle without becoming too overwhelming. Sound is next to tackle; we are exploring ways to keep the full orchestration at lower levels while maintaining the dramatics that make the score iconic.


How do you work with the performers on being ready for this type of performance? Is there an instructional class or workshop?


KW: During Production Week, we explain to our cast that there might be noises or movement in the audience. The performance is exactly the same as the other three, choreographically and in time length. At the origin of the first sensory show, members of the DRB Board attended an Autism Awareness Day at the Dallas Museum of Art arranged by the OT department of TWU. The Eisemann Center also had handout information they had gathered from out-of-state theaters. Ushers and Security personnel are also schooled in what to expect and how to serve these patrons. NL: I think in our situation, the dancers get to go out and do what they do best. Since the dance artform is already silent, the dancers themselves don’t have much to adapt. The costuming and movement or choreography will not be changed. Those that come to watch the ballet in a sensory friendly environment will still get to experience the performance just as anyone else would. We are only making adaptations to the things that could possibly over stimulate, like lighting or sounds.


How beneficial have these performances been for both the dancers and the audience members? Any feedback from parents?


KW: The dancers have loved the “sensory show” of The Nutcracker. Dancers love sharing their art, but especially with those who always give hugs. The feedback has been generous and helpful. We received emails lauding the performance and appreciating the concessions made to accommodate a wonderful family outing. NL: This is our first time brining together a production like this. We expect the results to be positive and are working to provide a Sensory Friendly version to every production on next season’s roster!


Is there any audience participation?


KW: Dancing in the aisles is allowed! I must mention the craft table in the Lobby staffed by our volunteers. A tactile board has swatches of all the costumes. Children can make an Angel for a souvenir. There is usually quite the “hustle and bustle” at that table! NL: We have discussed doing a small demonstration before the performance, but those details are still being worked out. After the performance the company dancers will go out to the lobby where audience members in attendance will have the chance to meet them up close! They will be able to ask the dancers questions and get photos with their favorite characters.


Have these performances impacted the dancers perception on people with sensory issues?


KW: The DRB Board, Artistic Directors, dancers, and Guest Artists have learned that dance is universal. We have been educated, embraced, and accepted by All people who love dance! NL: Since this is our first time doing a production like this, we’ll let you know.


12 • DANCE NORTH TEXAS


• NOVEMBER 2019 – JANUARY 2020


13 • DANCE NORTH TEXAS


• NOVEMBER 2019 – JANUARY 2020


Dallas Repertoire Ballet’s The Nutcracker Photos by Michelle Standerfer


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