The series of vignettes — written by and starring Ryan J. Haddad, directed by Jordan Fein and co-starring Dickie Hearts and audio describer Alejandra Ospina — dares American theater to reach the widest audience.
The twist — and one of the major successes — of this series of autobiographical monologues is that accessibility is not just tacked on but aesthetic, likely surprising both disabled and non-disabled audiences in its ingenuity and utility. It’s a meaningful effort, especially for those who have been historically excluded from enjoying theater, but even those who would argue access isn’t for them.
“It’s all very integrated. Those who need it will be able to latch on to the access that they need and those who didn’t think they needed the access when they walked in the room, hopefully, will realize that it all is additive, and enhances one another,” Haddad says. All the performances have a relaxed performance approach, meaning there is less dramatic lighting, no strobes or loud sudden noises, house lighting that is never completely dimmed to black and the ability to come and go as you need. Additionally, there is an entire first full row of wheelchair seating; a section for movement ; assistive listening devices; tactile samples of the set; a digital program that’s screenreader accessible; and masks available at every seat .
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