Sensory Friendly Theatre: Including Individuals with Sensory Processing Disorder

by
Darby C. High

A Thesis Submitted in Partial Fulfillment of

Requirements of the CSU Honors College
for Honors in the degree of
Bachelor of Science
In
Theatre Education
College of Arts
Columbus State University

Thesis Advisor ___________________________________________ Date ___________

Prof. Brenda May Ito

Committee Member _________________________________________ Date __________

Prof. Molly Claassen

Honors Committee Member __________________________________ Date __________

Dr. Andrea Frazier

Honors College Dean ______________________________________ Date___________

Dr. Cindy Ticknor
 Abstract

This paper will focus on using theatre as therapy for individuals with disabilities, as well

as how attending live performances can benefit them. It will also discuss the feedback and

outcome of directing two sensory friendly performances performed at Columbus State

University. The world of the play can be a scary place for individuals with disabilities, especially

if that disability affects their sensory perception. Many theatre companies are becoming

equipped to perform at least one sensory friendly showing of their regularly scheduled

performances, but not enough to make a difference to those whom it benefits. This research is

meant to explore the benefits and put them to the test.

 ii

Table of Contents

Table of Contents ............................................................................................................................ ii

Introduction ..................................................................................................................................... 1

Autism Spectrum Disorder ............................................................................................................. 1

Diagnostic Criteria ...................................................................................................................... 2

Treatment Options ...................................................................................................................... 3

Sensory Processing Disorder ...................................................................................................... 4

Inclusive Theatre Practice ............................................................................................................... 5

Sensory Friendly Theatre ............................................................................................................ 5

Theatre Accessibility .................................................................................................................. 7

Drama Therapy ........................................................................................................................... 8

Directing Children’s Theatre ........................................................................................................ 10

Reflection of Process .................................................................................................................... 11

Discussion ..................................................................................................................................... 12

References ..................................................................................................................................... 14

Appendix A ............................................................................................................................... 17

Appendix B ............................................................................................................................... 20

Appendix C ............................................................................................................................... 24

Appendix D ............................................................................................................................... 26
 1

Introduction

As of 2016, the Centers for Disease Control and Prevention (CDC) estimates that 1 in 68

school-age children in America have a autism spectrum disorder diagnoses. According to the

American Psychological Association (APA), close to 1% of the world’s population has autism

spectrum disorder (2013, p. 55). Therapists and teachers are able to achieve a therapeutic quality

through theatre for individuals who have autism spectrum disorder, or other disorders that

involve social impairment. Theatre helps people of all abilities experience certain emotions in a

safe and relaxing place. Unfortunately, theatre can sometimes be overwhelming when lights and

sound change unexpectedly for those with sensory processing issues. Thankfully, there is

expanding research and experimentation in creating theatre that is appropriate for individuals

with autism spectrum disorder. The field of sensory friendly theatre is still in development, but

there is a lot of promise in the benefits of this area.

Autism Spectrum Disorder

Autism spectrum disorder (ASD), acts along a spectrum, as indicated in the title, and

ranges from high-functioning to severe (Barna, 2017, p. 62). The first diagnosis of ASD was in

1943, but it wasn’t added into the Diagnostic and Statistical Manual of Mental Disorders (DSM)

until 1980 (Grandin, 2013, p. 3). Up until that point it was lumped under childhood

schizophrenia. But even then, it was considered a subcategory of pervasive developmental

disorders and part of the six symptoms still suggested schizophrenia. It wasn’t until the third

edition was revised that ASD got its own category under autism disorder, and the symptoms

went from six to sixteen. Then, in 1994 when they published the fourth edition of the DSM, they

added Asperger syndrome under autism disorder. It wasn’t until 2013 that the fifth edition was
 2

published and Asperger syndrome was lumped under autism disorder as part of the spectrum it

has now become (Grandin, 2013, p.14-15).

Diagnostic Criteria

The American Psychological Association is responsible for the Diagnostic and Statistical

Manual of Mental Disorders, and they are currently on the fifth edition. This resource is the basis

for all diagnoses of mental disorders, including ASD. The criteria for a individual to be

diagnosed includes: “Persistent deficits in social communication and social interaction across

multiple contexts, as manifested by … deficits in social-emotional reciprocity … deficits in

nonverbal communicative behaviors … [and] deficits in developing, maintaining, and

understanding relationships. Restricted repetitive patterns of behavior, interests, or activities, as

manifested by at least two of the following … stereotyped or repetitive motor movements, use of

objects, or speech … insistence on sameness, inflexible adherence to routines, or ritualized

patterns of verbal or nonverbal behavior … highly restricted, fixated interests that are abnormal

in intensity or focus … hyper- or hypoactivity to sensory input or unusual interest in sensory

aspects of the environment” (p. 50). It also includes that these symptoms should be noticeable in

early stages of development, and not better explained by another disorder.

Temple Grandin discusses in her book, The Autistic Brain (2013) how many individuals,

who are considered low-functioning on the autism spectrum, struggle to communicate with the

outside world. Many people are led to believe that individuals with ASD who are nonverbal have

little to no ways of communicating their wants and needs to the outside world. The way she

defines this is “acting self” and “thinking self” (p. 78). Individuals who are nonverbal, but

communicate with devices like tablets, are a prime example of people who have an obvious

“acting self” and “thinking self.” The “acting self” is the part that we, as observers, see. This
 3

includes “strange” behaviors such as arm flapping, screaming, grabbing things, etc. It also

includes the inability to communicate verbally. The “thinking self” is the part that the individual

with Autism experiences, the thoughts that they can form internally. Individuals who can

communicate through a tablet or other communication device, can express their thinking self to

others - which can significantly help researchers understand what is happening inside somebody

with ASD’s head.

Genetics is the number one “risk factor” that leads to ASD. Researchers estimate that

between sixty to seventy genes are connected to ASD. There has also been research into

environmental factors’ impacts on ASD development such as air pollution, water pollution, and

pesticides. Premature birth is also shown to cause the development of ASD. There is no

evidence that vaccinations lead to ASD like some families are led to believe (Bearman, 2010, p.

112).

Treatment Options

Some treatments that can help those with ASD cope or live a “typical” life include

medications such as antipsychotics, anti-anxiety, and stimulants. Behavioral therapies can also

help develop social skills and other life skills that may need breaking down into more

manageable pieces in order for those with ASD to do on their own. The Autistic Self Advocacy

Network (ASAN) (2018) recommends services such as speech and occupational therapy as

opposed to behavioral therapies. Some other therapies that can be beneficial, but not necessary,

include animal therapy, art, music, or drama therapy, and dietary programs. Dr. Grandin (2013)

also discusses label-locked thinking (p. 102-105). Parents and doctors are the most connected to

this form of thinking in that doctors will identify that a child has ASD, for example, and the

parent will become so conscious of this diagnosis that they want to know how to help their child.
 4

But, as with any human being, everyone responds to things differently and interacts with the

world in a different way. Temple Grandin (2013) herself has a diagnosis of ASD and uses that to

help others understand ASD and what they can do to help their loved ones when all seems lost.

She wants people who come to her to stop worrying about labels and tell her what their problem

might be (p. 103). Whether it is speech issues or communication issues, there is always

something deeper than, ‘my child has Autism.’

Sensory Processing Disorder

A child with autism, or any other disability, is known to have “outbursts,” which are

usually a result of a sensory processing disorder (SPD) accompanying their cataloged disability.

SPD’s are more common than one might think and vary along a spectrum, just like autism, and

are not often diagnosed as a stand-alone disorder. They can accompany individuals with attention

deficit hyperactivity disorder (ADHD), cerebral palsy, depression, anxiety, obsessive compulsive

disorder (OCD), and others. A person’s ability to integrate the simulation from the world around

them varies from situation to situation. “Sensory modulation is the brain’s automatic adjustment

to the intensity with which sensory stimuli are experienced. When sensory modulation is

efficient, the nervous system responds to some input while disregarding other sensations. We are

able to tune out or tone down annoying or distracting stimuli” (Smith, 2004, p. 39). But, those

with Sensory processing disorder have a harder time disregarding irrelevant information, which

can lead to a sensory overload and an outburst. SPD is recognizable if you know what the

symptoms are. The following list, giving by Emmons and Anderson (2005) states: “common

indicators of possible sensory integration dysfunction [include] overly sensitive to touch,

movement, sights, or sounds, under-reactive to touch, movement, sights or sounds, activity level

that is unusually high or unusually low, difficulties with coordination, delays in speech or
 5

language skills, delays in motor skills (fine and/or gross), difficulties with academic

achievement, poor self-concept, difficulties with executive functioning, and challenging

behaviors” (p. 32-33). Temple Grandin (2013), who was mentioned earlier, discusses the

different types of sensitivities that occur in individuals who have sensory processing issues.

These include auditory-processing, visual-processing, touch and tactile sensitivity, and olfactory

sensitivity (p. 87-95). The two that were focused on during this process, and in understanding

sensory friendly theatre, were auditory-processing, and visual processing issues.

Inclusive Theatre Practice

Of all the types of inclusive theatre-goer experiences, sensory friendly theatre is the least

practice around the world. Most theatres, even smaller ones, have accessibility for patrons who

have mobility issues where there is accessible seating and entrances. Some theatres offer

solutions for patrons who have hearing issues, such as sign language interpreted performances or

closed captioning performances. There are also options at some theatres for patrons who have

vision issues where they provide an auditory description of the performance. These options are

usually reserved for certain performances, and are often used in every performance offered at a

theatre. However, sensory friendly theatre is not offered at a lot of theatres, and even when they

are they are reserved for certain performances. This not only makes theatre less accessible for

individuals who may have sensory processing disorder, it increases the stigma that surrounds

families who may not be able to attend every day events.

Sensory Friendly Theatre

Sensory friendly theatre performances are theatre performances that are adapted for

individuals with an SPD. Many families with children or individuals with Autism are afraid to

attend social and cultural events because of the fear of their family member attracting negative
 6

and aggressive reactions from others who do not understand the diagnosis. Providing a type of

safe space for families to participate in public events allows for the individuals with an SPD to

experience something they would not otherwise be able to. These experiences expose individuals

with an SPD to valuable social skill opportunities, something that most struggle with, especially

if they are on the autism spectrum. According to Kempe (2014), children with autism experience

something called “‘joint attention’, whereby the child follows what a partner is very deliberately

pointing to or gazing at while using ‘exaggerated facial and verbal responses to an unexpected or

anticipated event,’ in order to emphasize appropriate social interactions” (p. 264). If a child

practicing ‘joint attention’ attends a theatre performance, they are also drawing from the actors

onstage, as is the whole audience. This gives that child the opportunity to draw the correct social

response from not only one person, but the entire audience. Individuals with autism are often

seen as out of place and not being able to connect with things they don’t understand - which can

lead to sensory overload. Kempe (2014) mentions that, “art is not so much a matter of cognition

but of re-cognition; in this sense ‘live theatre can make the familiar strange and the strange

familiar,’” (p. 265) which means individuals with autism and other disorders associated with

SPD are able to connect with the world through the fantasy inside of reality that happens

onstage.

In order to adapt a performance for a sensory friendly audience, there are certain

elements that must be changed or given warning about beforehand. These elements that should

change generally include light, sound, and other environmental changes such as fog. Many

theatre companies give patrons a visual story of what the drastic light changes mean, warnings of

any unusual noises, or unusual happenings on stage (chairs falling, etc.), and making the patrons

aware that it is okay to call out or make noise during the performance. Many companies, such as
 7

the Theatre Development Fund (2017) in New York City, provide character guides for the

audience that include: character description, a photo of the actor in costume, a synopsis of the

story, and, if the show has a popular animated version (such as The Lion King), they include an

image of the animated character alongside the actor. It is also important to train the staff and

volunteers about certain aspects about ASD and what they might need to expect when these

individuals have outbursts or meltdowns. The Center for Puppetry Arts (2017) uses a contact at

the Emory Autism Center in Atlanta to talk to their staff about the things that they should or

could expect while interacting with these individuals and their families. The Theatre

Development Fund also gives their volunteers information cards that include information like:

wheelchair accessible entrances, concession and merchandise locations, quiet area location,

activity area location, family restroom location, and the length of the play (if in acts, listing the

length of each act and the length of intermission). The volunteers also have sound reducing

headphones and fidget toys available for use during the show upon the patron’s request. All of

these adjustments allow for individuals with a SPD to participate in live theatre - something they

may not be able to do otherwise.

Theatre Accessibility

Inclusion and accessibility in the theatre context means that the spaces should “ be

thoughtfully designed to support all of the abilities of the people who work and visit it” (Watkin,

2017, p. 103) . In education, it has come to mean “allowing individuals, with or without

disabilities, to learn in any environment with the proper support systems” (Phillips, 2015). One

problem is that in theatre it is difficult to make every performance accessible due to community

needs and individual needs. It is difficult to cater to one need, for example vision issues, but also

gain momentum and interest from others in the community. Within the blind community there
 8

are varying levels of needs, all of which are difficult to meet in one way – even a well thought

out way. This is also true with other categories of disabilities. Overall, it is difficult, but not

impossible, to accommodate individuals who wish to attend theatre showings or work with the

theatre.

Drama Therapy

Not only can sensory friendly theatre be beneficial to individuals with a SPD, but theatre

in general can be. One situation where theatre is beneficial is through the use and practice of

drama therapy. Drama therapy is defined by the North American Drama Therapy Association as,

“active and experiential. This approach can provide the contact for participants to tell their

stories, set goals and solve problems, express feelings, or achieve catharsis. Through drama, the

depth and breadth of inner experience can be actively explored and interpersonal relationship

skills can be enhanced” (What is Drama Therapy?). Through this avenue, individuals from

varying backgrounds can benefit from participating in theatre. No matter how Drama Therapy is

used, there are certain assessments and structural guidelines that all Registered Drama Therapists

(RDT) use. One of these assessment techniques involves using Chesner’s “Dramatherapy Tree”

(Gardener-Hynd, 2010, p. 177). The tree is used to determine at what level clients are

functioning and what activities would be best suited for them. For example, a client at the root

level would use basic movement techniques and explore personal space; whereas students

functioning at a higher level would be farther up the tree and focusing on role play, or mask

work, and so on. By utilizing this, or at least this idea of a tree, RDT’s are able to create

personalized therapy based on a client’s ability or level of comfort. Gardener-Hynd (2010) also

mentions using the “creativity cycle” as an example on how to structure therapy sessions (p.

178). The cycle has four stages that are cyclical, whether it is within one session or repeated
 9

within a long-term group. The cycle begins with preparation by participating in warm-up games

or relaxation, then moves on to incubation – or the main activity. The activity can include free

play, storytelling, role play, mask work, and more. Illumination is the next step in the cycle, and

requires a reflection of the incubation step. Finally, there is verification, which happens between

sessions – when the activities have had a chance to be processed within the mind, either

consciously or subconsciously. By using these guides created by previous drama therapists,

future RDT’s are able to implement them within their own sessions and enhance the experience

for their clients or students.

Children in special education experience a lot of problems with routine changes, which

the creativity cycle can help manage while still introducing new things. These children also

experience a lot of problems socially and emotionally – affected by their brain function and/or

their environment. It has also been shown that “individuals with learning disabilities have higher

rates of psychiatric disorders compared with the general population” (Gardner-Hynd, 2010, p.

173). Psychiatric disorders can include depression and anxiety. It is known in the special

education community that these disorders go hand-in-hand with a lot of learning disabilities

because of how the stress of school and peers can affect these students. They are doubted by their

peers and teachers and have low confidence, lack communication skills, and the ability or desire

to seek help; otherwise known as learned helplessness (Raymond, 2017, p. 249). Unfortunately,

students and individuals with learning disabilities have not had access to mental health services

in the past. Recently though, individuals with learning disabilities have gained access to

mainstream mental health services – being treated the same as any other individual. Inclusion

into these mainstream services is extremely important for the emotional and social issues that

these individuals face. By having access to mental health services, individuals with learning
 10

disabilities have access to drama therapy – if referred to the service by their primary psychiatric

doctor, ward manager, or, in a school setting, their multidisciplinary team that works on their

individualized education plan. By allowing these individuals to become exposed to the arts in a

therapeutic and interactive way, they can learn how to express their anxieties and develop a

group awareness outside of themselves. It helps them to realize that they are not alone in their

worries and struggles – and even individuals without disabilities need that reassurance. Drama

therapy also leads to developing trust and positive relationships to peers, reducing the amount of

bullying that occurs. Once trust and positive relationships are outlined, individuals who receive

drama therapy services can begin to delve into the creative arts aspect of theatre.

Directing Children’s Theatre

Children’s theatre ranges from early ages, such as two or three, all the way to twenty-two

years old. Susan Zeder (2015), a prolific children’s playwright, writes her plays about “young

[people] at a time where his or her life changes forever” (p. 12). Performances for children are

just as, if not more, important than performances for adults. Children are impressionable, and

also love to be entertained. Zeder (2015) also says that “Drama, theatre, and media techniques

are used with children to help them make sense of their world and express their own creative

impulses,” which helps them develop socially and physically (p. 17). But the magic of theatre

does not just appear in one day, there is preparatory work that begins with a director or producer

having a vision to produce a children’s show. Prep work with the actors is a big part of the

process in order to make them understand that rehearsals will be nothing in comparison to

performing for a live child audience (Wood, 1999, p. 25). In order to prepare actors, Wood

(1999) also mentions that the actors need to be encouraged to find characterizations
 11

(characteristics) and basic qualities of their characters early on in the rehearsal process (p. 181).

It all starts with the selection of a show and creation of a concept from the director.

Reflection of Process

In order to create a sensory friendly performance that I could put together on my own

(while collaborating with other students) I had to pick a show that I knew was possible to create

at my school in one of our performance spaces. Before getting anyone on board, I had to get

approval from the theatre department to be able to have my performance. I chose a children’s

theatre play entitled The Great Alphabet Adventure written by Julia Flood. The basic plot of The

Great Alphabet Adventure follows Alex, the main character, and his adventure on one rainy

afternoon. Alex expresses how much he dislikes books, and would rather be bored than read

them when the power goes out one day after school. Zora, his new neighbor, climbs in his

window and they go on an imaginative adventure to refill an alphabet book with its letters.

The cast consists of five people, all of which gave feedback about the rehearsal process.

For many, they were freshman, and this was their first college production – even if it was a small

one. They expressed how easygoing and relaxed rehearsals were, and how unstressed they were

about the upcoming performances. One actor stated, “I’m very happy I did this as my first show

at CSU to help ease into it. It’s a very positive environment and relaxing.” It was difficult

figuring out how to prepare the designers and cast members for what might lie ahead. I created a

handout of all my research for them to look at when they needed help and ensured that I was

open to questions as the process went on (See Appendix A for the document given to actors and

designers). There was confidence and teamwork radiating throughout the entire team the entire

process. When the time came to get into our performance space and work with the lights and

sound, it was time to put together the additional materials that I would give attendees access to
 12

beforehand in order to prepare them for the performance (See Appendix B for the guide and

social narrative given to attendees before the performance). I also created a program, based on

the Theatre Development Fund’s information that I could find on their website and the

information they gave me during the interview I had with them in March 2017 (See Appendix C

for the program).

I created a survey based on information I thought would be relevant to what I was trying

to find out through this process (See Appendix D for the survey). When the time came for the

performance, I knew it was out of my hands. The actors and technicians did an amazing job, and

it felt good to get such positive feedback from the audience members. I asked audience members

who came with someone who had sensory sensitivities, or those who had them themselves, to fill

out this survey so that I could gather information on their experiences. The results indicated that

my show was successful in not bothering any sensitivities to the point of discomfort. Two of the

things that were mentioned in the responses that seemed to be small issues were, “loud

clapping,” and “the ripping sound of the removal of letters.” These were the only things

mentioned as problems, and the second one is fixable if I were to do a show like The Great

Alphabet Adventure again. Unfortunately, clapping is not something I can control. However, I

did offer headphones to cancel out any noise that may have disturbed someone and I’m unsure if

this person used them or not. Overall, I think that this production created a small positive impact

on my community, and I wish to continue creating more opportunities like this in the future for

individuals who have sensory processing disorders.

Discussion

My results in this journey have showed me how exhausting, yet satisfying creating

theatre for individuals with an SPD can be. Sitting in the audience and observing the happiness
 13

and joy that came from the audience members was the most incredible feeling. Although we

didn’t have as many people show up as we had hoped for, it was definitely a start to something I

wish to continue work on in the future. Part of the low numbers can be contributed to the

inability to advertise the performance due to not having rights to the show. In the future, I hope

to be able to advertise the performance to a larger audience and attract more people who sensory

friendly theatre can help. I’d also like to have more staff members available to help with the

performances. In February, 2018 the RiverCenter in Columbus, GA will be collaborating with an

outside company to make a performance coming to the space sensory friendly. I have been

recruited to participate in this performance, with the hope that the RiverCenter will start trying to

make their entire season more sensory friendly. Overall, I believe this was a successful journey

and want to create a bigger impact on the community in the future.

 14

References

American Psychological Association. (2013). Autism Spectrum Disorder. Diagnostic and

Statistical Manual of Mental Disorders (5th ed., p. 50-56) . Arlington, VA: American

Psychiatric Publishing.

Autistic Self Advocacy Network. (2017). Position Statements. Retrieved from

http://autisticadvocacy.org/about-asan/position-statements/

Bailey, S. (1993). Wings to Fly: Bringing Theatre Arts to Students with Special Needs.

Maryland: Woodbine House.

Barna, M. (2017). Autism Spectrum Disorder: Many Questions, Few Answers. Discover, 62-65.

Bearman, P. (2010). Just-so Stories: Vaccines, Autism, and the Single-bullet Disorder. Social

Psychology Quarterly,73(2), 112-115. doi:10.1177/0190272510371672

Bolton, G. M. (1985). Changes in thinking about drama in education. In Theory into Practice.

Columbus: Ohio State University College of Education.

Centers for Disease Control and Prevention. (2016, March 31). CDC estimates 1 in 68 school-

aged children have autism; no change from previous estimate. Retrieved from

https://www.cdc.gov/media/releases/2016/p0331-children-autism.html

Center for Puppetry Arts. (2017, February 6). Personal Interview.

Emmons, P. G. & Anderson L. M. (2005). Understanding Sensory Dysfunction. London: Jessica

Kingsley Publishers.

Gardner-Hynd, N. (2010). Dramatherapy, learning disabilities and acute mental health. In P.

Jones (Ed.). Drama as Therapy: Clinical work and research into practice (p. 172-188).

New York: Routledge.

 15

Grandin, T., & Panek, R. (2013). The Autistic Brain: Exploring the Strength of a Different Kind

of Mind. Boston: Houghton Mifflin Harcourt

Kempe, A. (2014). Developing social skills in autistic children through ‘Relaxed Performances’.

Support for Learning, 29(3), 261-274.

Kennedy Center for the Performing Arts. (2017, March 25). Personal Interview.

Momeni, S., Khaki, M., & Amini, R. (2017). The Role of Creative Drama in Improving the

Creativity of 4-6 Years Old Children. Journal of History, Culture, and Art Research,

6(1), 617-626.

Parsad, B., and Spiegelman, M. (2012). Arts Education in Public Elementary and Secondary

Schools: 1999–2000 and 2009–10 (NCES 2012–014). National Center for Education

Statistics, Institute of Education Sciences, U.S. Department of Education. Washington,

DC.

Raymond, E.B. (2017). Learners with Mild Disabilities: A characteristics approach. Boston:

Pearson.

Redington, C. (1983). Can theatre teach?: an historical and evaluative analysis of theatre in

education. Oxford: Pergamon Press.

Smith, K. A. & Gouze, K. R. (2004). The Sensory-Sensitive Child. New York: HarperCollins

Publishers.

Theatre Development Fund. (2017, March 23). Personal Interview.

Walsh, F. (2013). Theatre & Therapy. New York: Palgrave Macmillan.

Watkin, J. (2017). Inclusive Theatre Space: Bursting through Boundaries of Spatial Restrictions,

One Project at a Time. Canadian Theatre Review, 103-107.

What is Drama Therapy? (n.d.). Retrieved December 05, 2016, from http://www.nadta.org/
 16

Wooster, R. (2007). Contemporary Theatre in Education. Bristol, UK: Intellect.

Wood, D. & Grant, J. (1999). Theatre for Children. Chicago: Ivan R. Dee.

Zeder, S. (2015). Theatre and Youth: It’s all in the Prepositions: A Keynote Reflection. Theatre

Symposium, 7-19.
 17

Appendix A

Sensory Friendly Theatre Quick Reference!

Sensory processing disorder (SPD) act along a spectrum, include all the senses, and are rarely
diagnosed as a stand-alone disorder. It is usually paired with disorders like Autism Spectrum
Disorder (ASD), Attention Deficit [Hyperactivity] Disorder (ADD/ADHD), Obsessive
Compulsive Disorder (OCD), Cerebral Palsy and others (listed in the image above).
Signs and symptoms of SPD include, but are not limited to:
•Overly sensitive to touch, movement, sights, or sounds.
•Under-reactive to touch, movement, sights, or sounds.
•Activity level that is unusually high or unusually low.
•Difficulties with coordination.
•Delays in speech or language skills.
•Delays in motor skills (fine and/or gross).
•Difficulties with academic achievement.
•Poor self concept.
•Difficulties with executive functioning.
•Challenging behaviors.
 18

DEFINITIONS OF SF PERFORMANCES:
According to the Kennedy Center for the Performing Arts “Sensory-friendly performances are
designed to create a performing arts experience that is welcoming to all families with children
with autism or with other disabilities that create sensory sensitivities.”
The Theatre Development Fund explains sensory friendly performances as: “Each show
is performed in a friendly, supportive environment for families and friends with children or
adults who are diagnosed with an autism spectrum disorder or other sensitivity issues. Slight
adjustments to the production are made, including reduction of any jarring sounds or strobe
lights focused into the audience. Quiet and activity areas staffed with autism specialists are
available in the lobby areas for those who need to leave their seats during the performance.”

WHY IS IT IMPORTANT?:
Not only does research show that sensory friendly performances are effective in help
those with sensory processing disorder (SPD), theatres that implement these performances gain
so much positive feedback from the community that attends. Many families that have children
with a SPD are afraid to leave the house in order to attend public events, and therefore, do not
get to experience a lot of culture and art which can be very beneficial. By providing these
performances, families and community groups are able to attend these cultural, public events
without worry of being judged or having negative feedback from those around them. Theatre has
a unique way of introducing social interactions to children with SPD’s. Children, specifically
children with ASD, follow their peers reactions to things in order to understand the proper way
to react. This is called “joint attention”, which can help to emphasize certain social reactions to
things happening onstage. They may mimic the feelings of the actors onstage or of their peers
sitting around them in the audience. By witnessing another’s actions and emotional experiences,
children with ASD can create the same neurological imprint as their own feelings or reactions.

WHAT WE MUST REMEMBER WHEN REHEARSING THIS SHOW!

● Every child is unique!
● It’s not less important than an adult show - children are impressionable
● Need the ability to react and think quickly onstage
● No 2 performances are the same. Each audience reacts drastically different. Rehearsals
will be nothing in comparison to a child audience
● Families who have children or individuals with autism are often afraid to attend social
events because of the fear of their child attracting negative and aggressive reactions from
others.
● Theatre has a unique way of introducing certain social interactions to children with
autism. Children with autism tend to follow their peers reactions to things - what this
article calls “joint attention” - which can emphasize certain social reactions to things
happening on and off stage.
 19

TECHNICAL ELEMENTS
● Adjustments are made to sound and lighting effects in order to reduce surprises that may
trigger outbursts.
● Elements that should be given warning beforehand:
○ Visual story of where lights come from and why
○ Warning of any unusual noises or anything happening on stage (chairs falling,
etc)
○ Any out of the ordinary elements (fog, dry ice, etc.)
○ It is okay to call out or make noise during the performance.
● Training for theatre staff/volunteers
○ Features of ASD and how to deal with incidents/outbursts.
○ Provide a quiet space in the lobby with monitors to the stage (if possible)
○ Allow a ‘touch tour’ for patrons to go onstage and explore the set with the actors
before the show.
○ Provide a list of surprises so that parents may go over it with their child.
● Give character guides which include:
○ The character description
○ A photo of the actor in costume
○ If the show has a popular animated version (for example Lion King) they have a
picture of the actor in costume, and a image of the animated character.
○ It also includes a synopsis of the story.
● They also included a cue sheet guide that includes:
○ A visual and textual guide to the performance for children to look at as the show
progresses.

QUOTES OF INTEREST FROM MY RESEARCH

● “art is not so much a matter of cognition but of re-cognition; in this sense ‘live theatre
can make the familiar strange and the strange familiar’”
● “Children’s theatre is not an easy option, but a specialized branch of theatre and an art
form in it’s own right.”
● “Children’s memories of visiting the theatre can last an entire lifetime”
● “Sensory modulation is the brain’s automatic adjustment to the intensity with which
sensory stimuli are experiences”
● “Witnessing another’s actions and emotional experiences can create the same
neurological imprint as doing or feeling them oneself”
● “I regard theatre as the greatest of all art forms, the most immediate way in which a
human being can share with another the sense of what it is to be a human being” -Oscar
Wilde
 20

Appendix B

Guide for Attending the Sensory Friendly Performance

Thank you for your interest of this sensory friendly performance on Saturday, November 11 at
10:00 a.m. and Sunday, November 12 @ 2:00 p.m. We are very excited about this event and
want to make it the best possible experience for everyone. To that end, we’d like to offer some
suggestions and provide you with additional information regarding the performance:

FAST FACTS
THE RIVERSIDE THEATRE ADDRESS -
6 W 10th St, Columbus, GA 31901
PERFORMANCE BEGINS at 10:00 a.m. (Nov. 11) and 2:00 p.m. (Nov. 12)
DOORS OPEN at 9:15 a.m. and 1:15 p.m. respectively
RUNNING TIME is approximately 35 minutes with no intermission

● A downloadable social narrative, written specifically for this event, is available on the Facebook
event starting November 9. The document is in Word format, affording you the opportunity to
customize it. We encourage you to take advantage of this tool to help your child or adult
become comfortable with this new experience.
● Small coping tools (ie: fidgets, weighted blankets, etc.) are allowed in the theatre. Headphones
are also allowed. Some fidgets, ear plugs, and a limited number of headphones will be provided.
● In order to accommodate dietary restrictions snacks from home are permitted, however we
encourage you to limit your eating to outside the theatre or in lobby areas before the show
and/or at intermission. Full meals such as pizza or fast food will not be permitted.
● Flash Photography and Videography are NOT PERMITTED inside the theatre. We want to
enjoy the show while still respecting the theatre’s policies. If you are planning on bringing a
service animal to the performance we ask that please kindly notify us before you come.
● Slight adjustments have been made to the lighting and sound of the show. Please consider your
child’s or adult’s sensory sensitivities and plan accordingly.
● A Quiet area by the lobby, staffed with ushers, will be available, and additional volunteers will
be accessible throughout the performance to assist you.
● We strongly encourage parents and caretakers to be aware of any early warning signs of
difficult behavior and act accordingly. Our trained volunteers are ready and willing to help
however they can! Please note that the volunteers are not caregivers themselves. They cannot
be used to sit with someone while you go elsewhere. They cannot assist with toilet transfers.
Individuals cannot be left unattended in the quiet areas.
● Our program is designed to be a welcoming and inclusive environment. Individuals of all
abilities and with any and all behaviors are welcome and we hope our audience members will
mirror that same welcoming attitude.
 21

Social Narrative
for the
Sensory Friendly Theatre
Performance

Riverside Theatre Complex

6 W 10th St. Columbus, GA
31901
 22

I will go to the
Riverside Theatre to see the show.
The theatre is located at
6 W 10th St. Columbus, GA 31901

Inside someone will tell us where to go. They are called an Usher.

I can use the bathroom or get a drink of water at the water fountain before I go into
the theatre.

Before I go to my seat I can also go to the concessions stand. This is where there
are snacks and drinks for sale.

It’s very important that I use the restroom and get my snacks out before the show
begins because we do not have a break or intermission.

Even though there isn’t a set break if I need to get up to use the restroom or take a
break in the Quiet Area I can at any time.

I will go into the theatre.

The theatre is small.

There are no assigned seats, so I can pick where I would like to sit, so long as
nobody else has picked that seat.

The Usher will give us a program. A program is a book. I can look at the program
with [insert name/s].

The actors wearing will be on the stage, and are in costumes that look like fun
characters from a book! I am allowed to go up and talk to them if I want to.

The theatre will get quiet. I will try to be quiet during the show so I can hear
everything.
 23

The lights will change and the director, or the person in charge of the performance,
will talk to us about turning our cell phones to silent and to enjoy the performance!

I will see actors wearing costumes walking on the stage. The actors in this show
will wear costumes that look like fun characters from a book I might read.

I will try to stay in my seat. If I feel scared, I can cover my ears, squeeze a fidget,
hold [insert name/s] hand, or hug [insert name/s]

If the show is ever too loud or too bright, I can take a break in the Quiet Area in the
lobby.

In the quiet area there are mats I can sit and lie on. There will also be some fidgets
and puzzles if I need them.

If the clapping is too loud, I can ask a volunteer for headphones to help make it
quieter.

At this performance there will be all kinds of people. Each person who is watching
the show may experience it differently.

Some people may make sounds, some people may move around, and others may be
quiet. Everyone is allowed to be exactly how they need to be at this performance.

Just like with clapping if a noise someone is making is too loud for me I can use
headphones, or if I’d like, I can take a break in the Quiet Area.

After the show is over, we’ll go out of the Riverside Theatre.

I am so excited to see the performance!

 24

Appendix C
25
 26

Appendix D
27