An exciting new initiative, Seats on the Spectrum, has launched a Broadway pilot program that provides comprehensive support to neurodivergent audience members.

Partnering with the Roundabout Theater Company and the New Victory Theater, and organized in collaboration with the Theater Development Fund (TDF), it’s already in play at productions ranging from Yellow Face at the Todd Haimes Theatre to Cirque Mechanics’ Yuletide Factory at the New Victory.

Some theatergoers might already be familiar with the concept of “relaxed performances,” which offer some modifications at select performances of a given show. Seats on the Spectrum aims to broaden the types of supports available, as well as offer training and education measures, and hopes to set standards that will be adopted countrywide. (See specifics below the Q&A, plus, this FAQ is a great resource.)

The program’s founding director, Adrienne Willis — who is also the executive and artistic director of Lumberyard Center for Film and Performing Arts — has a son on the autism spectrum. She kindly made time to speak with The Boost Editor Roberta Bernstein after a hectic Halloween dance at his school — and pre-trick-or-treaters — about his own experience attending plays, and more.

THE BOOST: Seats on the Spectrum is such an amazing initiative. I’m wondering about your own son, who’s autistic, and his experience attending plays.

ADRIENNE WILLIS: I’ve worked in theater for most of my adult life so he’s been to many performances. Live theater is one of his favorite things. He was also fortunate enough to go to schools in the city and they took the students to the theater and to things like puppet shows in Central Park when they were younger. So, he had one foot in the door.

Is he comfortable when he goes?

He’s actually never been OK with the sensory-friendly performances because the room itself is overstimulation for him. He’s very sensitive to other people’s emotions and he prefers a dark theater to a light theater and the sense of being by himself.

How do you handle this?

I advocate for him, and I think it’s easier for me to do this than it is for other parents because of my [career]. I know the tricks, like always get an aisle seat near the exit and to talk to the ushers to tell them what to expect. It makes it easier when they’re on your team to get through the performance. I also know how to talk to the patrons around me to say if there’s any problems, we’re doing this, we’re trying this, thanks for your patience.

He went through period where he had a lot of imaginary friends and he’d stand there and count them all coming into the row. The people around us were OK with that. It all doesn’t have to be so much work, but parents don’t always know that.

This brings up an interesting question about whether a component of the initiative is educating the audience itself, in addition to accommodating the neurodivergent audience members.

Audiences know that the theaters are participating in Seats on the Spectrum, and it’s on their websites. And we find especially that at the shows for children parents understand what’s going on because they’re exposed to this [through their kids]. But yes, we’ve talked about this; we do want to have an element of educating audiences. But just co-existing is a good first step.

Can you talk a little about future goals?

We’d like to learn from this what was problematic, what we should adjust. Our goal is to have it be easy to implement so, other theater not having to go through a trial period and dealing with all the challenges that come up.

[Roundabout and New Victory] are in it with us to figure out the bumps and then, when we get through that, we’ll have a great road map that not only shows how to implement it, but also how to make it financially doable for theaters. Theaters are having a hard time right now, we don’t want this to be an added strain.

Seats on the Spectrum Elements

They include:

• Social Narrative Development: In collaboration with the Anderson Center Consulting & Training, the program is developing a social narrative template that can be updated for each performance to assist neurodiverse attendees in understanding and preparing for the show.
• Dedicated Seating: The theaters are offering designated aisle seats with easy access to exits that are indicated on the seating/ticketing map. Over the three-month pilot, and between Roundabout and the New Victory, Seats tickets will be available for 96 performances.
• Front-of-House Enhancements: Seats on the Spectrum is working with the theaters to update the front-of-house experience in ways that minimize stress and sensory overload for neurodiverse attendees. Offerings include the option for Seats patrons to pre-purchase sensory bags containing calming items (such as fidget toys and noise-canceling headphones); and flexible entry options, including early seating upon arrival or late seating after the audience is settled, to reduce exposure to large crowds during peak entry times.
• Pre-show Space Access and Tours: Seats on the Spectrum is facilitating pre-show access and tours to familiarize neurodiverse attendees with the theater environment.
• Cozy Area Expansion Pre-Performance and During Performances: In collaboration with Seats on the Spectrum, the theaters are expanding and optimizing designated cozy areas to accommodate sensory needs.
• Staff Training: Seats on the Spectrum — in collaboration with TDF at the New Victory — is training ushers and front-of-house staff to support and service neurodiverse patrons. Training also addressess neurotypical-patron management for when issues arise.
• Educational Materials: Information to increase awareness and sensitivity among general audiences.

Pilot Program Productions

Roundabout’s productions of David Henry Hwang’s Yellow Face at the Todd Haimes Theatre (after the October 1 opening, through the closing on November 24) and Meghan Kennedy’s The Counter at the Laura Pels Theatre (after the October 9 opening, through the closing on November 17);

Theresa Heskins’s adaptation of The Princess and the Pea (October 19-27), Baba Bird Theater Company’s Baba Yaga and the Firebird (November 9-17), Cirque Mechanics’ Yuletide Factory (November 23 – December 29) at the New Victory Theater.

Photo: The New Victory Theater (Alexis Buatti-Ramos, courtesy of New Victory Theater)