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Amy and the Orphans

Representing Disabilities On Stage: The Breakthrough Plays

 

In a study conducted in September 2017 by the Ruderman Foundation, it was found that, while 20% of the US population has a disability, less than 2% of television characters do. The study also found that 95% of those characters are played by able-bodied actors.

Children of a Lesser God original production

The notion that characters with disabilities should be played by actors who have them is not a new one. In 1980, Phyllis Frelich became the first deaf actor to win a Tony Award, for her performance in Mark Medoff’s new play, Children of a Lesser God. The play, which chronicles the personal and professional relationship between a deaf student and her hearing teacher, played on Broadway for two years, with multiple deaf actors taking over Frelich’s role. It was also adapted into a 1986 film, with Marlee Matlin (in Frelich’s role) becoming the first deaf actor to win an Oscar. The play is being revived on Broadway this year, with deaf actor Lauren Ridloff making her Broadway debut.

The Curious Incident of the Dog in the Night-Time by Simon Stephens also made waves recently, winning the 2015 Tony Award for Best New Play. Like Mark Haddon’s novel from which it was adapted, the play chronicles a boy with autism investigating the death of a neighbor’s dog. After much protest when the main role of Christopher Boone was repeatedly cast with non-autistic actors, Mickey Rowe became the first autistic actor to play Christopher in September 2017. In speaking about the role, Rowe noted that the only change that had to be made to the production in order to accommodate him was enlarging the font of the script. “All too often...we are learning about autism from others

Elsewhere in recent history, Martyna Majok’s play The Cost of Living, which played off-Broadway, explored the relationships of a double above-the-knee amputee and a man with cerebral palsy, both of whom were played by actors with the same disabilities. Madison Ferris made history as the first lead actor on Broadway in a wheelchair when she played Laura in the 2017 revival of The Glass Menagerie. While the play mentions that Laura walks with a limp, the character is typically cast with an able-bodied actor, with the recent production making the choice to more actively explore Laura’s disability.

Spring Awakening (2015)

Deaf West Theatre has taken the casting of actors with disabilities a step further with their revivals of Big River in 2003 with Roundabout and Spring Awakening in 2015 on Broadway. While the text of neither musical refers to deafness, these productions saw them performed simultaneously in American Sign Language and English, often with both deaf and hearing actors playing one role. Spring Awakening marked the first time that a Broadway production was interpreted for deaf-blind theatregoers, which even in the last few years has become a more widespread offering.

The journey to fair representation on stage for those with disabilities is still far from over, but it is these breakthrough plays and productions that have allowed progress to be made and will continue to make progress in the years to come.

Amy and the Orphans began performances at the Laura Pels Theatre on February 1, 2018. For tickets and information, please visit our website.


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2017-2018 Season, Amy and the Orphans


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From the Artistic Director: Amy and the Orphans

 

I knew even before I read the first page that there would be something dangerous about Amy and the Orphans. In the perhaps innocuous-sounding title itself lies an undercurrent of tragedy: Orphans. The sadness behind this word might soon be forgotten as Lindsey Ferrentino’s relentless, trademark humor jump-starts the play’s opening scenes. But Lindsey has let us know from the very beginning that beyond all the comedy of these first moments awaits a danger for us to grapple with in this play – but not, of course, without her leading the way.

There is danger for Lindsey herself in the pages of this script. Amy and the Orphans draws from the real-life experiences of Lindsey’s actual family members (including her Aunt Amy, who, like the Amy of this piece, had Down syndrome) and the decisions that would change their lives forever. This is a very personal play for Lindsey, and I am so inspired by her courage and talent in bringing it to life. It’s a frightening thing to reckon with such intimate ghosts on so public a platform as a New York stage, but it is this kind of risk, in my opinion, that makes way for true insight and makes possible real triumph.

Lindsey’s willingness to take such risks in her plays is one of my favorite things about her writing. As she proved with her play Ugly Lies the Bone, which premiered in the 2015 Roundabout Underground season to much acclaim and went on to be produced at the National Theatre in London last spring, she’s not afraid to tackle some of our culture’s greatest personal, social, and political ills and leave her audience with questions that they might never have otherwise asked themselves. She provides a platform for those who are often denied one, giving voice to individuals whose communities might all too often dismiss them as “less than” and taking on beasts as enormous as bias, tradition, and alienation. But for all the heaviness of her subject matter, she is anything but heavy-handed. She knows how to dramatize the massive, inconceivable forces of ostracism and isolation in a form that is both hilariously relatable and frighteningly true to life: the generations-old, rarely-discussed norms and patterns of the everyday that are all too often shrugged off as “just the way things are.”

It’s in just such a rut that we meet the titular trio of Amy and the Orphans, three adult siblings who reunite for the first time in years in the wake of their father’s death. True to her style, Lindsey has us fall in love with her characters before all else. She lets the comedy do the work of building the relationship between her audience and those who populate her stories, and she allows conflict to bubble organically out of clashing eccentricities and small disagreements that run amok. And then, just as effortlessly, she exposes what lies behind all the squabbling. As her characters one by one unearth grudges, resentments, and secrets that span decades, they must ask themselves what it really means to know and love those who share their blood, especially when one of their number has been disregarded and “othered” for decades. Is all of this really “just the way things are”?

Herein lies the danger that Lindsey warned us about from the outset: the danger in fighting years of unchallenged convention; the danger in owning up to complacency; and the danger in speaking up for yourself when even your own family members can’t seem to hear you. In amplifying the voice of a member of the Down syndrome community with integrity and compassion, Amy and the Orphans ultimately asks just how little we might know about those who make up our families – and just how deeply they can surprise us.

I am so excited for you to see this phenomenal production under the direction of Roundabout’s magnificent Associate Artistic Director Scott Ellis, who has worked with us steadily for well over 20 years. (It recently occurred to me that Amy and the Orphans is Scott’s 23rd production with the company – a remarkable achievement!) As always, I am eager to hear your thoughts on the show, so please continue to email me at ArtisticOffice@roundabouttheatre.org with your feedback.

I hope you enjoy Amy and the Orphans!


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2017-2018 Season, Amy and the Orphans, From Todd Haimes


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Interview with Amy and the Orphans actor Jamie Brewer

 

Actress Jamie Brewer

Ted Sod: Where were you born, and what made you decide to become an actress? Where did you get your training? Did you have any teachers who profoundly influenced you?

Jamie Brewer: I was born in Los Alamitos, California. I started studying acting/theatre when I was in 8th and 9th grades. It was part of a College for Kids summer program that helped me learn everything about theatre from development of characters to getting the play on its feet, including costuming and building and painting sets. I learned everything about theatre production. When I was in high school, I was part of a theatre club and learned fun facts about theatre and helped with productions. After graduating from high school, I got involved in Dionysus Theatre in Texas. Deb Nowinski, the founder of Dionysus, brought together actors with disabilities and actors without disabilities to audition for parts equally, and we performed in plays together. I became a resident troupe member, and we traveled around to schools and other places performing in plays. After living and working in Texas, I moved back to Southern California and continued my theatre education at a local college. I’ve been involved with different theatres here in California. I’ve gone to school to learn the Sanford Meisner technique for acting. I started learning Meisner when I went to Ruskin School of Acting, and I’ve been continuing to learn those techniques. I’m also part of a theatre class called Born to Act Players. I’m taking college classes, and I am learning about many other areas of theatre when my work schedule allows. I have a Musical Theatre certificate, and I am going for my Bachelor of Fine Arts degree. All the teachers I’ve had were -- and still are -- a positive influence on me.

 

TS:  Why did you choose to play the role of Amy in Lindsey Ferrentino’s Amy and the Orphans? What do you think the play is about?

JB: I chose to play Amy because I can relate to her personality, her love for movies and her independence. There are many traits to Amy that I love, and I want to thank Lindsey for thinking of me for this role. This is an amazing play about a road trip among three siblings, Jacob, Maggie, and Amy, and who they are, what they learn from each other, and how they begin to understand the choices their parents made in caring for Amy.

Lindsey Ferrentino and Jamie Brewer

 

TS: What kind of preparation or research do you have to do before rehearsals begin in order to play this role, if any?  

JB: In preparing to play this role, I talked with Lindsey for several long sessions in order to understand her Aunt Amy’s personality and how she talked. This helped me to understand who Amy really was and how she lived her life. I always prepare for a role by studying and reading the script front to back -- multiple times. Then I highlight and tab each line I say, so I won’t lose my place when I’m in rehearsals. After highlighting my lines, I write them out in a composition book that has my notes on the character in it.  I find this allows me to take my time while memorizing each line.

 

TS: How is this character relevant to you? I realize the rehearsal process hasn’t begun yet, but can you share some of your initial thoughts about who your character is with us? What do you find most challenging/exciting about this role?

JB: I see a lot of myself in Amy -- her personality is a little like mine. Amy is someone who is like glue in certain ways.  Amy’s sister, Maggie, and her brother, Jacob, fight with each other often, and Amy finds humor where there’s tension. I love that in Amy’s eyes everyone who comes into her life is a friend. Every role is challenging, but this role is exciting for me because it’s my first play in New York City. It allows me to show everyone that just because someone may have Down syndrome, it doesn’t limit their opportunities. It allows me to show that we are all more alike than different. I’m excited to bring Amy to the New York City audience.

 

TS: At this early stage in your work, how do you understand Amy’s relationship to her brother and sister, Jacob and Maggie? How do you understand Amy’s relationship to Kathy?

JB: I understand that for a lot of Amy’s life, she never really knew her family because she lived in Willowbrook for a short time and then in the foster care system. Amy’s the younger sister to Jacob and Maggie. She’s the baby of the family. I feel that we start to see the relationship build among all three when the road trip begins. Amy’s relationship with Kathy started when Amy started living in the group home after she was too old for the foster care system. Kathy and Amy act like sisters even though they are not biologically related.

 

Director Scott Ellis with cast. Photo by Jenny Anderson.

TS: What do you look for from a director when working in a play?  

JB: A director who’s always amazing at his/her job. I love to work with a director who’s open minded. It’s interesting to learn from their vision and see all the characters develop. I’m always excited to work with directors because they are the ones who help us bring the written words to life. It’s also nice when the director learns from actors that they work with. I love to make spontaneous choices, find humor, and bring in choices that all the actors have the chance to give their opinions about.

 

TS: How do you keep yourself inspired as an artist?

JB: I keep myself inspired by reading and studying all sorts of media. I read a variety of things: stage plays, books, etc. I also listen to different genres of music, including Spanish and French songs. I love to write. I also love to dance to different styles of music. I love all forms of the arts. I love all things creative.  I do some gardening. I’m growing fresh herbs. I get inspired by the people who I meet through my advocacy work. I have been an advocate for people with disabilities for a very long time. We all need each other.

 

TS: Public school students reading this interview will want to know what it takes to be a successful actress -- what advice can you give young people who say they want to act?

JB: Always use your voice to ask for what you want. Always listen to advice from family and friends. Remember, this includes the teachers you see at school every day. Always listen to yourself and never give up on what you want. All hobbies can become a career. Always say to yourself and others, “Yes, I can,” instead of saying, “I can’t!” There’s no harm in trying new things that might be challenging. If you get stuck, ask for help when you need it. Don’t be afraid to ask for advice to help you reach your goals. Be inspired by others and you should always try to inspire others around you!

 

Amy and the Orphans begins performances at The Laura Pels Theatre on February 1, 2018. For tickets and information, please visit our website.


Related Categories:
2017-2018 Season, Amy and the Orphans


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