Returning to our dear friends at the Associated Press, their articles aren’t always found syndicated on other news sites. Take this story from AP drama writer Mark Kennedy, who reported on Broadway participating in an experiment, with children on the autism spectrum as test subjects. Specifically, the Theatre Development Fund announced it will present an autism-friendly performance of The Lion King, a highly successful Broadway adaptation of the 1994 Disney film of the same name. Organizers are gauging if this move should be replicated elsewhere.
To accommodate the increased sensitivity of the audience who will watch the October 2nd show at Minskoff Theatre, experts identified scenes where lights or sounds needed to be toned down, although no decrease was higher than 30 percent of levels in regular performances. Seven changes were made in all, and three quiet areas with beanbags and coloring books, staffed by autism experts, will be available to children whose sensory inputs are overwhelmed. A 16-page downloadable guide at the fund’s website informs children what to expect and options anticipating potential moments of sensory overload. An autism advocate and author is quoted saying even if this experiment fails, either this group or another organization can apply the effects of this event to make adjustments for a future autism outreach event.
Last year, I discussed two articles on movie theaters offering autism-friendly screenings, so to hear of Broadway taking part in the outreach effort is little surprise to me. The only serious question for autism-friendly events is a matter of when they will happen, versus 10 years ago where the question centered around if. I’m not sure we’ll see “autism-friendly” sporting events (which may have kept my head from ringing covering a Minnesota Lynx game in Chicago, where Allstate Arena’s acoustics amplify sound far greater than Target Center) given the size of sports stadiums, even with a rapid increase of autistics in the population. However, the Theatre Development Fund’s experiment does reinforce the course change regarding autistic people as experts and caregivers alike search for ways to integrate a population segment that prefers to isolate themselves. Personally, I can’t recall any moments where I fell victim to sensory overload at movie theaters or theatrical production. I even braved the stage myself in high school when I donned the character of Ali Hakim for the musical Oklahoma! However, I am only one man and an oddity myself among the autism community, rendering my ability to represent the group useless in this capacity.
For those wondering why I haven’t dissected the article, the reason is the format of Associated Press stories. When your organization is behind the stylebook bought and used by aspiring college journalists and professionals seeking to maintain high standards, there isn’t much to discuss with Kennedy’s format of the story, although Kennedy shows some playfulness with the lead given Broadway’s venture in unproven territory. He uses a variety of sources related to the show and autism spectrum, speaking with a member of the Theatre Development Fund, the author I previously referenced, and an Autism Speaks representative. Exploring the changes to the specifically tailored performance was expected in this story, but readers also discover the speed of dissemination as most seats for the matinee performance have been snatched up.
If any of you fear about entertainment options for autistic people, whether or not this show succeeds, you may find yourself saying “Hakuna Matata,” a Swahili phrase meaning “There are no worries.” Oh, it’s also a song title from a popular Disney movie.