“How to Dance in Ohio” Holds Space for Autistic People on Broadway

By Joanna Reid

Editor's Note: While it's the editorial policy of this newspaper to use person first language, the producers of this play emphasized that they want any press coverage to use identity first language. We've chosen to honor that request in our headline and review. 

“How to Dance in Ohio” is a new musical that opened on Broadway in December that is shattering stereotypes about people who identify as neurodivergent. The show is based on the documentary of the same name, which follows autistic adults who attend group counseling. Their counselor, Dr. Amigo suggests a formal dance to help the group further their social skills. We watch as these seven autistic adults balance their excitement and worry, while also trying to navigate a world that is built for neurotypical people. Meanwhile, parents and Dr. Amigo question whether or not it’s time for them to take a step back and give their young adults some independence. 

After the show, senior Lydia Barrow and other fans met the actors and expressed what the show meant to them. Photos by Joanna Reid

It’s rare to see authentic representation on Broadway, but surprisingly each autistic character is portrayed by an autistic actor, including understudies. The characters were deep, each having their own interests, desires and conflicts. Drew is concerned with where he plans to go to college. Tommy sets his sights on getting his driver's license. Remy enjoys cosplaying on social media. Mel is coming to terms with the fact that maybe some people will never understand the way their mind works. Caroline is thrilled to have her very first boyfriend. Marideth gets anxious in social situations and would much rather have her head in a book. And Jessica hopes to capture Tommy’s attention. Each character is incredibly diverse.

You would think it would be difficult to balance a plot that focuses on all of these different characters without becoming too convoluted. However, “How to Dance in Ohio” was perfectly nuanced. Despite the fact that Dr. Amigo’s character was there to guide the autistic characters, he was still flawed. This is especially important because not only did his mistakes further the plot and create an interesting storyline, but they also removed the ability for him to have a savior complex. This allowed the autistic characters to be seen as capable and dignified, erasing stereotypes of autistic people that are found in the media far too often. 

The show’s sensory room offers a quiet space where audience members can take a break from the show if needed. There is a monitor so that one does not miss any of the show if they have to step out.

Lydia Darrow, a senior political science major who attended the play, said, “It was wonderful to see autistic people portrayed in a positive light as opposed to films like `Rain Man’ that depict autistic people as unfeeling.”

The show successfully displays positive autistic representation, while still exhibiting some of the hardships of what it’s like to be neurodivergent. 

“I don’t relate to one character in particular, but Drew definitely stood out to me the most,” said Darrow, who is also part of the Bridges to Adelphi program, which offers support to neurodivergent students. “I resonated with his desire to be more than just the ‘if they can do it so can you’ poster child, as well as how he understands math more than people, even if I have gotten better at communication throughout my life.”

Not only can autistic representation be found in this musical, but several of the characters are transgender and non-binary. This heightens the individualism of the characters, making them more realistic and showing that all kinds of people are autistic. Intersectional representation is always needed on Broadway. 

Psychology major Chris Franklin, a junior who identifies as neurodivergent and gay, said they felt seen as well. “It was nice for the [LGBTQ+] characters to be played by actual autistic/queer actors because a lot of times it felt more genuine and was a better form of representation.”

On top of this, it’s clear that the show’s accessibility team worked hard to create an inclusive environment inside the Belasco Theatre. Headphones were offered, which could be plugged directly into the show's audio, canceling out noise from other audience members that one may find overstimulating. Two sensory spaces were also created that could be accessed at any time, along with a map inside Playbills that located these areas. Additionally, at the top of the show actors told the audience what they could expect so there were no surprises. 

“I went to the sensory room for a few minutes during the intermission,” Darrow said. “It wasn’t as expansive as the Bridges sensory room [at Adelphi], but still pretty cool. It’s a great place to decompress if the show or atmosphere is too overwhelming,”

Darrow continued: “As a person with autism, I really loved the show, especially because the main characters were all played by autistic actors. My favorite part of the show was when the characters responded to the article and asserted to Mr. Amigo that their input was necessary.” 

“How to Dance in Ohio” is expected to close Feb. 11, but this is a show you don’t want to miss.