Beyond props, locations and genre, the most important rule of the film challenge is that one participant on every team must have a disability. The goal of the film challenge is to create opportunity and generate film-making experience for the disability community in front of and behind the camera.
I created this film challenge six years ago, as a response to a problem I was all too familiar with in Hollywood – a lack of inclusion. I’m a little person, and have been an actor and comedian for most of my life. While I have been fortunate and have acted in many TV shows and films, the reality is that people with disabilities are still the most underrepresented community in entertainment today.
People with disabilities represent 25% of the U.S. population, but are seen in less than 3% of on-screen speaking roles. Some 61 million adults in the United States identify as having a disability, and still, we are not seeing ourselves being represented.
Beyond acting, I have always produced my own content as well. I believe that work leads to more work, and that if you aren’t given opportunities you need to create them for yourself. These projects have been so critical in building my career, and six years ago I was tired of seeing the same old statistics – why weren’t more people with disabilities taking their career into their own hands?
Six years later, and it’s amazing what the film challenge has become. I have partnered with Easterseals Southern California, the largest disability services provider in the state, whose mission is to change the way the world defines and views disability. Their support has helped the challenge grow each year, and I am so excited for what the future will bring. The 2019 film challenge will mark Easterseals’ 100th Anniversary of supporting this vibrant community.
The industry is taking notice, our supporters are growing and we’re seeing our participants getting hired for recurring roles on TV shows. Casting directors and producers are reaching out to us about the participants, because they recognize the importance of inclusion and the talent in this community.
Fountain Outreach Coordinator Jeffrey Arriaza
At the Fountain Theatre, we screened the four winning films from the 2018 Easterseals Disability Film Challenge and three films featuring actors from the Fountain Theatre’s acclaimed Cost of Living.
In the panel that followed, past participants consistently referenced the strong community that the challenge builds. While the challenge lasts one weekend out of the year, the real impact is seen when participants continue to work together year round. Attendees at the event stuck around and caught up long after the last film played, and even after the theatre closed for the night.
The Fountain Theatre is a perfect partner, because they also recognize the importance of stories from underrepresented communities. Together, we can inspire change in entertainment and create opportunities for all.
We hope you participate in the 2019 film challenge! Learn more here.
Katy Sullivan and Felix Solis in ‘Cost of Living’.
The Fountain Theatre’s acclaimed west coast premiere of Cost of Living by Martyna Majok has been named by Los Angeles Times theatre critic Charles McNulty as “Best in Theater in 2018.” McNulty writes, “The Fountain Theatre’s production of Majok’s “Cost of Living” confirmed just how indispensable 99-seat theaters still are to a healthy theater ecology.”
“Martyna Majok’s searing drama,” McNulty continues, “about the relationship between disabled persons and their caregivers was bravely essayed by the Fountain in a production directed by John Vreeke that revealed just how acutely this Pulitzer Prize-winning drama exposes some vulnerable truths at the heart of the human condition.”
Cost of Living features Tobias Forrest, Xochitl Romero, Felix Solis and Katy Sullivan. The run ends this Sunday, December 16.
The Fountain Theatre believes students and young people must have the opportunity to engage and consider meaningful human issues through the experience of live theatre. We love having students in our audience. They are the artists, arts patrons and arts leaders of tomorrow.
We’re always delighted when teacher Alan Goodson brings his students from Fashion Institute of Design & Merchandising to the Fountain Theatre. They recently enjoyed our funny and poignant West Coast Premiere of Martyna Majok’s Pulitzer Prize winning play, Cost of Living. Here are some of the reactions written by the students:
“Overall, the play was an excellent representation of everyday life, not just for one with disabilities, but for those who crave to be pulled out of loneliness. The way that Majok portrayed the play through the eyes of two characters in wheelchairs, as well as their caretakers, was an excellent way to grab the audience’s attention. It was an on-edge performance, with exceptional acting skills. While showing someone with disabilities can be a touchy subject for most, it’s important for others to see that they aren’t the only ones in life that may need a little extra love, or caretaking.”
Tobias Forrest and Xochitl Romero in “Cost of Living”
“Whether it be bathing, eating, or taking part in social life, Cost of Living is a reenactment of what millions of people go through. This thought-provoking piece allows the audience to be vulnerable, uncomfortable, and also gives people a chance the be thankful for the simple things that are often taken for granted.”
“Cost of Living was a production that completely changed my perception of those that are disabled. I believed that many were strong, and had to carry on with their lives after an incident happens, or even from birth. However, I didn’t realize the actual struggle that these people had to face in daily life, when it comes to daily, normal activities. I not only had sympathy for them, but I also saw their strength and courage and how it can be hard to accept help from others, especially when they see others carrying on their lives normally, when they physically are not able to do so. If the play was able to change my views, it’s able to change many others’ as well.”
“I believe the director and actors were able to show and bring to life that feeling of what the characters cost of living was. Personally, I can relate to the production in that I have a disability that at times hinders my ability to live life to my fullest. I try not to let it, but at times there is nothing I can do about it being my cost of living.”
“The play is about disabilities with people, not the other way around. The message of the play is that the biggest disabilities we can have are the ones that every person encounters at some point—loneliness and fear. The worst disabilities are not about having someone bathe or shave you, it’s the ones that make us human and make us all alike in some way. Personally, I found myself somewhere in this play, as I’m sure many others did. It captured me from the very first scene, and made me feel for each character and I related it to struggles in my own life.”
Theatre as a Learning Tool is the Fountain Theatre’s educational outreach program, making theatre accessible to students and young people throughout Southern California.
Winner of the 2018 Pulitzer Prize, Cost of Living by Martyna Majok is a funny and poignant play about human connection. The West Coast Premiere at the Fountain Theatre stars Tobias Forrest, Xochitl Romero, Felix Solis and Katy Sullivan, directed by John Vreeke.
The Fountain parking lot was transformed for the VIP evening.
Much about last Saturday night’s VIP performance of Cost of Living at the Fountain was out of the ordinary. Our exclusively invited guests drove up to the Fountain to discover a team of valet parking attendants waiting to park their cars for them. The performance of Martyna Majok’s funny and poignant play starred two fabulous actors with disabilities in lead roles — a first for our theatre. And the classy post-show reception was vibrantly staged in the outdoor parking lot, not in our upstairs cafe, to allow full access for our guests in wheelchairs.
What remained consistent that evening was the excellence of the work on stage and the support of our Fountain Family. The theatre brimmed with many of the generous Fountain donors, underwriters and producers who made our west coast premiere of this Pulitzer Prize winning play possible.
Executive Producers Barbara Herman and Susan Stockel were joined by Producing Underwriters Diana Buckhantz, Lois Tandy, and Miles and Joni Benickes. Other guests included Fountain Board members Karen Kondazian, Dick Motika, Jerrie Whitfield, as well as Marc and Aliza Guren, Cecile Keshishian, actor Alan Mandell, Beth Stoffmacher from the National Arts and Disability Center, and Peter L. Thompkins.
The delicious food was provided by Alligator Pear Catering. Long strands of newly installed lighting twinkled across the Fountain parking lot. The decorated outdoor setting provided a classy and delightful ambience for our invited guests and the Cost of Living company. Although this was the first time we transformed our parking lot into an outdoor soiree, judging by Saturday night’s success it won’t be the last.
Cost of Living tells two parallel, relationship-driven stories. John hires a caretaker, Jess, and the pair chip away at their judgmental personalities, slowly becoming friends; and Eddie looks to reconcile with his wife, Ani, after a prolonged period of separation. John has cerebral palsy (CP), a condition caused by abnormal brain development that is characterized by impairment or loss of motor function. Ani, because of a car accident, is a quadriplegic, meaning that all four of her limbs are paralyzed, although Majok’s script notes that “some of the fingers of one hand are partially functioning.”
Katy Sullivan in “Cost of Living”, Manhattan Theatre Club.
Actress Katy Sullivan, who played Ani at MTC to great acclaim, is a bilateral above-the-knee amputee, a disability different from the character Ani’s quadriplegia. Sullivan will return to the role of Ani for the Fountain Theatre West Coast Premiere. Actor Tobias Forrest, a quadriplegic, plays John. Jess and Eddie are able-bodied characters played by Xochitl Romero and Maurice G. Smith.
The following conversation is an excerpt from a January 2018 interview with Majok conducted by Melissa Rodman, a Harvard College senior who wrote her thesis on staging disability in 21st-century American theater. Majok discussed how Cost of Living uses humor and sexuality to paint a picture of four messy, contradictory, funny, and flawed people, destabilizing assumptions about disability.
Melissa Rodman (MR): I was wondering if we could start off talking about Cost of Living and where the inspiration for the play came from, particularly the disabled characters.
Martyna Majok (MM): It started with a monologue. I was struggling economically. I always kind of have. I grew up with very little money, so for me, all the plays are about class. Cost of Living was about class; queens is about class. All these plays are in conversation with class, but America is so focused on identity. That is their lens through which they see just about every play. I don’t know if it’s the same for literature and things like that, but I think particularly for plays where you really have the bodies on stage.
So they said, “Oh, you wrote a play about disabled people or about disability.” I thought, “Well, no, it’s a play about class and loneliness, and it also happens to be told with two disabled bodies.”
So I had that monologue. I didn’t know what to do with it. What am I going to do with this 10-minute play? And, a few months later, I was asked for the 10-minute play festival to write about jobs. And so I thought about my most memorable job, and it was working with a man with CP, while I was in Chicago.
I went to the University of Chicago as an undergrad, and when I graduated, I ended up working for a graduate student at the same university. And so I wrote about that—I mean, I didn’t fall in love with him [laughs]—but I felt like this is a world that most people will not know about. And so, I went with that, and when we presented it, it was a really fascinating experience for me.
My play starts, and it’s just this woman standing onstage, speaking to someone offstage. And as soon as the character John enters in a wheelchair, everybody got so quiet. You felt them feel nervous. And it was so palpable to me. I didn’t know what it was. Were they nervous that I was about to make fun of a disabled character? Were they nervous at just the image of a disabled body?
Tobias Forrest co-stars as John at the Fountain Theatre
I have a friend who says that disability is like a walking reminder of mortality, that when somebody looks at a disabled body, they’re thinking about the fallibility of their own body and death. I’m thinking about that, and I didn’t know, and I thought, “Oh god, my play’s gonna tank.”
And as soon as John has the first joke, the audience was like, “Okay, okay. We can laugh.” But it was like they were still kind of feeling it out. But because he had the control in the scene, and he had the jokes, and he was in charge, people felt comfortable.
And they could laugh and kind of grow with the people. So I thought, “This is fascinating. I have to make a play that put two disabled bodies onstage.”
The stories about disabled characters that I had seen tended to be one of two kinds: one was the “Oh he’s gonna run the marathon,” that sort of an inspirational story, where disabled characters just are such saints that they almost aren’t actual people. So there’s a distance already there.
And the other is the dying-with-dignity narrative, which I think is very dangerous. It makes it seem like there’s only two options. You either have to be an inspirational amazing-genius-achievement person, or you must want to kill yourself. I wanted to make sure that I countered that and offered another narrative, and also for them to have humor and sexuality.
MR: I noticed while reading the play that the stage directions and descriptions of the real physical interactions between the characters really come across. I was wondering how your experiences informed your scripting the play?
MM: There are so many things, like how do you shift your weight to be able to accommodate a body being moved from a wheelchair? There are so many specific things, that I would just walk the actors through it. I can’t imagine writing that or trying to figure that out without having experienced it.
The first time I went in, and kind of got trained—I think it was my first day—and the guy, who I was working for with CP was clearly so used to training people how to help him, and so he walked me through it. And so onstage, I walked them through it.
And then for the quadriplegic character, Ani, I had to do more research on my own.
I never wanted to rely on an actor doing my dramaturgy, so I researched as much as I could with that, and talked to people. The two were kind of a combination of past experience and research outside.
MR: That makes sense. I’m thinking more about the playwright’s notes at the beginning, which are very extensive. What was going through your mind when saying Ani and John have to be disabled people playing these characters?
MM: I mean, it’s funny. It became such a big thing. I had just written it thinking, “Well, of course. Like, of course. Did you guys ever think that you had to cast it differently?”
It blew my mind, but then of course I remembered celebrities like Eddie Redmayne and Sam Claflin, the Me Before You actor, played disabled people.
MR: The Jake Gyllenhaals.
MM: Jake Gyllenhaal. People will look at plays and think, ‘Well, at one point he walked, so we have to cast a celebrity and CGI [computer-generated imagery] his legs.
You could CGI the legs onto someone with a disability, if you would like to, to be able to actually give these people opportunities to represent themselves onstage in their own stories. But I think a lot of people will cop out in that way, because it’s economic, like you’re saying.
It’s a risk to cast an unknown actor, disabled or able-bodied. And I understand that, but also if you continue to not let disabled actors play disabled characters—or any character, to be honest—then they’re not going to get the exposure and the experience to then become the Jake Gyllenhaal. R. J. Mitte from Breaking Bad, he’s now an offer-only actor. He’s somebody who was cast in Breaking Bad, who has CP, and now he’s a name. Now more opportunities are open to him, and people consider him for larger roles.
Because it’s not my identity, because I’m not a disabled person, I felt like it would not have been right if I had also taken—not just the identity I wasn’t—but to have it told with people for whom that it’s not their identity.
I think people have been using the excuse, “We just don’t know any disabled actors.” We did a lot of casting. I knew Gregg, who played John at MTC, from like six years before I wrote the play. I didn’t write it for him, but after I had written it, I thought, “Oh, I know somebody who can do this.”
For Ani, it was not difficult to find a disabled actor, it just was difficult to find the right actor, in the way that it is for any role. The most difficult thing was finding somebody who could be brash and have humor and be believably working class, and that was harder than it was to find a disabled actor.
MR: And when you had this team, what did you think about, in terms of actually staging the disability with these four bodies that were assembled? Did things change from script to stage? And then, of course, there are the two iterations, at Williamstown and at MTC.
MM: It’s interesting, ’cause when you see Katy in a wheelchair, you see that she doesn’t have legs and doesn’t have knees. Sullivan was born without knees and legs. So people kept calling the character she played, Ani, a double amputee.
There’s all these things on the Internet, “The play’s about a double-amputee.” I’ve tried so painstakingly to specify the character Ani is a quadriplegic, not a double-amputee. But they’re gonna see what they’re gonna see. From the Williamstown production to the MTC production, the rewrites that I made in between were clarifying exactly what the disability is.
I can say, ‘cerebral palsy,’ and people who don’t know anybody with cerebral palsy might not know exactly what that means. Some people think it’s like an accident versus neurological birth disability. And so, I decided, “Okay, I’m meeting the audience where we’re at.”
I want everyone to come in with a common knowledge. I want them all to feel safely taken care of, and that they’re all on the same knowledge plane. So I think I assumed more people would know more than they did about CP and would listen to more of the language versus see Katy and assume she’s in a wheelchair because she’s a double amputee.
Most of the rewrites were actually about the Jess character. The rewrites tended to be me having to explain how somebody who went to Princeton could end up sleeping in their car. ’Cause this was unbelievable to an audience. [laughs] And so I had to put in clues about how things broke in her life along the way, that she would end up being there.
At one point when I was working on the one for Williamstown, I asked Gregg to describe to me what his body felt like to him, and then asked his permission if I could use some of that language. And so that’s the part [in the play] where he’s talking about his body.
He walked me through what it would feel like to kind of walk, for him specifically, because he went through a lot of dance—physical dance—training, and things like that that enabled more mobility than for somebody who didn’t go through that kind of training. And so he walked me through what the body feels, and I thought that was interesting and important, ’cause I also didn’t know what it feels, literally what it feels like, and we’re talking about bodies. And so, in that sense, that was a really great collaboration.
And, I mean, the stages were different. Williamstown has a raised proscenium, so at one point they just realized, because the actors are in motorized wheelchairs, if they go out of control, they’re going to end up in the audience. [laughs]
You do have to kind of change things a little bit, but it’s fine. There’s ways, you know, it’s just part of it.
MR: You mentioned different kinds of audience perceptions of all of the characters. Can you talk a bit more about the audience response and how that factored into some of the staging choices?
MM: I think most of them had to do with responses to class, I guess.
There was an interesting experience Gregg had after a show.
Katy comes out, and she has her prosthetic legs on, and she doesn’t enter in the [prop] wheelchair. And Gregg enters walking, also without his prop wheelchair.
There was somebody who came up to him after the show, and said, “I’m so glad that you’re not actually disabled. Oh my God! Thank God!” And he told them he actually is disabled, that he does have CP. But this response of “Thank God! Thank God it was just pretend!” That was really interesting.
I was at some of the talkbacks, and I think people were surprised at the humor. They were expecting a certain kind of story.
With the last three plays I’ve done, which all have serious capital letters—they’re about poverty and immigration and disability—people are assuming that that’s gonna be a sad story [laughs], or it’s just gonna be a super serious story. I’ve learned to train audiences early on that they can and should laugh.
So I front-load a lot of jokes that I usually give to the person that is the “other,” that’s gonna be perceived as the “other,” so that they’re the ones who are in control of the humor and driving it, and the audiences connect with that person.
MR: Are there any other things that you wanted audiences to take away from the characters?
MM: I think the one about suicide or the idea of giving up never came into the conversation. Sexuality was a big one. I wanted to have sexy scenes and have a person taking agency with their own sexuality and pleasure. Hopefully, it’s like a widened lens that somebody has about another person’s life. It’s a wider empathy that they have.
I have a lot of friends who are disabled. I have a huge group of playwriting friends, but part of that group is people with disability. And so they will tell me about people assuming pity for them, and that gaze, that was something I did not want at all present in it.
People will say, “Oh, you poor thing,” or “That must be so hard,” and they’re assuming that they’re suffering daily and every minute and are thinking about their disability all the time. And I wanted to add more in the lives of these characters than just that.
Katy Sullivan, Victor William in “Cost of Living”, Manhattan Theatre Club, 2017.
The National Arts and Disability Center has awarded The Fountain an Arts and Accessibility Grant to support its upcoming West Coast Premiere of Martyna Majok‘s 2018 Pulitzer Prize winning play, Cost of Living. The grant will assist in funding the compensation of two actors with disabilities for the production opening October 20th.
“We are grateful to the NADC and the California Arts Council for their support of this important project,” states Fountain Co-Artistic Director Stephen Sachs. “We are proud to produce this Pulitzer Prize winning new play which features two leading roles for actors with disabilities. It is another example of the Fountain Theatre’s mission of inclusion and our commitment to serving a wide variety of communities in Los Angeles.”
Achingly human and surprisingly funny, Cost of Living is a haunting, rigorously unsentimental play about the forces that bring people together and the realities of facing the world with physical disabilities. Unemployed truck driver Eddie is struggling to rebuild a relationship with his estranged wife Ani, recently wheelchair-bound with a spinal cord injury. Jess, in a job that she desperately needs, is trying to navigate her duties with John, her new boss with cerebral palsy. But, who is really caring for whom? By shattering stereotypes, the play reveals how deeply we all need each other.
Cost of Living debuted at Manhattan Theatre Club in 2017. The Fountain west coast premiere, directed by John Vreeke, will run October 20 to December 16th. Casting is now underway.
On the Spectrum is LaZebnik’s third dramatic work dealing with issues surrounding autism, and his passion for the subject derives from his personal connection to the disorder.
Having two nephews and a niece diagnosed with autism has opened his eyes to autism in a way that provides a firsthand perspective on those who fall “on the spectrum,” he says.
Jacqueline Schultz calls it a perfect fit for her. She’s directing a production of LaZebnik’s play for the Fountain Theatre, opening Saturday. The award-winning actress and director has also worked for more than 12 years as a theater director and educator with special needs students.
“Theater is about all of those things that help children learn,” says Schultz. The art form has a special way of helping autistic children learn because it “helps kids discover how to act together with others,” she says.
The overriding theme of the play can be found in the term from which LaZebnik selected his title. People who exhibit a range of behaviors associated with autism and Asperger’s syndrome are said to be “on the spectrum.” Schultz says it is a vague term that cannot be truly defined.
“This whole phrase of ‘on the spectrum’ is so broad, and includes so many things. I mean we’re all ‘on the spectrum’ in some way. Every artist I know is somewhere ‘on the spectrum’,” says Schultz with a laugh.
LaZebnik agrees that the term is all too encompassing, and says his play is meant to bring attention to a growing movement in the autistic community that seeks to find greater acceptance of those who exhibit behaviors that fall somewhere on the spectrum. The movement includes a fundamental change in terminology in referring to autism as a “difference,” rather than a disability.
“It is about the very inherent conflict of do you try to engage fully in the neuro-typical world, or say to the world — ‘I’m different. Deal with me on my terms’,” LaZebnik says.
“It’s about this other way of looking at it — a different way of thinking,” says Schultz.
Modern technology has helped paved the way for the growing movement for change. The increasing number of websites, blogs, and chat rooms created for and by people with autism “have joined people from all over the world in a community of like others who can relate to each other,” says LaZebnik. “The technological revolution has liberated people.”
Email communication and the invention of communicative devices, such as the Proloquo, have helped autistic people overcome many aspects of autism that interfere with their ability to engage in social interaction. It also eliminates many of the “gray areas” of human communication, such as sarcastic tones, facial expressions, and physical gestures, that are often difficult to interpret by people with autistic symptoms, according to LaZebnik.
The play attempts to capture this facet of communication between its autistic characters through the use of multimedia aspects of the production, including audio voice-overs and video screens.
“The play demonstrates how technology has allowed the characters to communicate what’s inside, rather than be judged on the outside,” says Schultz.
At the crux of the matter is a basic civil rights issue, say supporters of the movement. But LaZebnik says his play is designed “not to advocate, but just to demonstrate.”
Schultz says the play adequately “addresses the movement in a public manner.”
“The way in which people with autism and Asperger’s are portrayed in this script is very different” from most previous treatments of the subject, she says.
A Love Story
At the heart of the play is a love story between its two central characters. Iris (Virginia Newcomb) suffers from severe communicative difficulties due to her autism, but she finds a voice through technology and becomes an online activist in the movement for acceptance. Mac (Dan Shaked), whose mother Elizabeth (Jeanie Hackett) has provided him with years of mainstreaming and therapy, passes as “typical” in the world. When Mac and Iris meet online, a relationship develops that challenges Elizabeth’s hopes for her son, while raising questions about the definition of “normal.”
Dan Shaked and Virginia Newcomb
“Iris has an opinion. Elizabeth has an opinion. Mac bridges both of those worlds,” says Schultz.
LaZebnik says that watching the struggles of his eldest nephew to have a relationship was an impetus for the love story component of the play. “I started thinking, ‘what is his world like?’ So I took this conflict of outlooks and layered it into a love story,” he says.
Schultz says the play “does a great a job of breaking down the myths about autism and autistic people. They can feel. They can fall in love. They can get actively involved in their own community,” she says.
“Part of the love story is a mother’s love for her son,” says LaZebnik. Elizabeth struggles with letting go of her expectations for Mac in favor of allowing him to become his own person. Mac struggles with letting go of those expectations as well.
“His mother has been his guardian and shield, his whole life. The potential of him going off with this girl obviously is hard for her, and it’s hard for him to contemplate leaving her,” says LaZebnik.
Finding a resolution in the ending was his most difficult challenge in writing the play, he says. “We went through some different options, but oddly enough we went back to the original ending.”
Choosing the Right Cast
The writer and director both agree that casting the play is a difficult part of the process of bringing it to the stage. Finding the right actors to portray autistic characters is a challenging facet of the piece. The premiere production in Minneapolis brought in an autistic woman to play the role of Iris, a concept that Schultz entertained during casting for her production.
Jeanie Hackett and Dan Shaked
“I tried an agency that specializes in special needs actors, but it just didn’t fit,” she says.
Casting the role of Mac was the biggest struggle in the process. “It was a very extended search to find this person who is the right Mac,” says LaZebnik.
Working from a stack of resumes, Schultz called the best people in for the first round of auditions. “But it just didn’t walk in the room,” she says.
Looking for a distinct physicality, paired with the talent she sought to match her vision for the role, sent her back to the drawing board to consider additional options.
“I didn’t want to settle, so we went back [to the resumes] until we found Dan,” she says.
Early preparation included watching a lot of videos and reading multiple books about autism.
“As an actor, you try to look at what the symptoms are of the diagnosis, but there’s no blood test. It’s diagnosis by behavior, so you have this wide variety and combinations of behaviors. ‘On the spectrum’ is what they say when they don’t know what else to say,” says Schultz.
Schultz took her cast members to the school where she teaches to observe the behavior of her students, and together they also attended a high school dance to watch special needs students socially interact with one another.
“If you’re going to do a play, you have to have a concept of how you see it, but I go into rehearsal as a collaborator. It’s a collaborative art,” she says.
A shortened rehearsal schedule has also been a challenge to overcome, especially in dealing with the play’s many technical aspects, Schultz says.
“This is a tech-heavy show. It’s always a challenge getting what you’ve done in the rehearsal room to connect with the tech in actuality,” says Schultz.
The collaborative work includes video design by Jeffrey Elias Teeter and sound design byPeter Bayne as part of the effort to illustrate the central question — disability or difference?
“I don’t know that the play answers the question as much as it asks the question,” says Schultz.
“I tried presenting both sides in as intelligent a way as possible,” says LaZebnik.
Nonetheless, LaZebnik says the ultimate message of the play comes through Mac’s character in the end. “I certainly, at the end of the play, have Mac embrace who he is. Authenticity of self is what trumps everything — self-awareness,” he says.
Schultz says she hopes audiences have a similar reaction to the play that she has had.
“It’s humbled me in the sense that these parts are so difficult to play, and it has introduced me to a new way of viewing this community, and I thank it for that, because I think it’s a good thing,” says Schultz.
“I would love it,” LaZebnik says, “if people saw these characters as just two unique human beings who fall in love.”