Mockingbird, a play by Julie Jensen, adapted from the novel by Kathryn Erskine, features a main character on the autism spectrum.

“We were determined to cast an actor with autism to play the character with autism in Mockingbird”, says Erica Berman, Mockingbird’s director and Children’s Theater of Madison’s (CTM) Director of Education and Community Engagement. “In doing so, we are deepening our commitment to representation in the theater for people who are underrepresented.” Berman cast Mattie Olson, an 11-year-old on the autism spectrum, in the role.  Olson found it to be a natural fit.  "Acting has always helped me figure out the world,” says Olson, “It's like the whole world is kind of a script to me. And what I say is my script."

Mockingbird is the story of Caitlin, an 11-year-old artist on the autism spectrum.  Her brother Devon has always helped her make sense of the world, however, after Devon is killed in a school shooting, Caitlin must learn to navigate the world, and her grief, without him.  For Berman, the play engages with community, resilience and healing.  Mockingbird was commissioned by The John F. Kennedy Center for the Performing Arts Theater for Young Audiences program and was first produced at the Kennedy Center during the 2014-2015 season.

Although 20% of people in the United States have a disability, only 2% of characters in plays, television and film have a disability.  And 95% of characters with disabilities are played by actors without disabilities.

Whitney Derendinger, who plays Dad in the production, asserted that this is the most welcoming and inclusive production he’s been a part of.  “I’ve been in other productions that included neurodiversity, but, if an actor wasn’t getting what they needed in rehearsal they were just told to ‘work harder.’  That wasn’t the case here, this production was focused on making sure everyone had the support they needed to be successful.”

Berman and the production team worked with Olson’s family and support team to create accommodations and supports throughout the rehearsal and production process.  These included an extended and adapted rehearsal schedule, a support person, a break space, supports such as social stories and fidgets, a reward system and trainings on autism for the cast and crew.  Berman also cast a neurotypical young actor, Amélie LaBarre, as a cover for the role and invited her to perform in three of the performances.  Olson is new to the theater, but brings important lived experience to inform the role. LaBarre is an experienced and skilled young performer. The two were able to collaborate, sharing their strengths to build the role and learn from one another.    

Megwyn Sanders-Andrews, Ph.D., Mockingbird’s dramaturg and CTM’s Access for All Coordinator, stated that everyone involved with the production considered the importance of representation throughout.  “In our production of Mockingbird,” Sanders-Andrews says, “we were very mindful of the famous phrase ‘If you’ve met one person with autism, you’ve met one person with autism.’  We’re not trying to represent all people with autism, or what autism itself is.  We’re building one, specific, character with autism as she negotiates a tragic event with her community.”

Part of Mockingbird’s performance schedule includes student matinees.  According to Laura McMillan, CTM’s Education Manager, student audiences were engaged and connected to the story on multiple levels.  One student with autism particularly enjoyed a scene in which Caitlin uses a facial expression chart because, through Caitlin, he saw himself represented onstage. 

For Berman, it is particularly important that students and young people have the opportunity to see this play.  “Gun violence and school shootings are ever present in our schools (from active shooter drills to lock downs) and this play can initiate important conversations,” she says.  “Also, there are many young people in our schools on the autism spectrum.  While it is beneficial for all students to see a play like this (as it elicits empathy for the main character), it is essential for students with disabilities to see themselves represented on stage.”

Mockingbird’s neurodiverse cast includes two young actors with autism.  CTM engaged artists with disabilities in other ways as well.  CTM commissioned Seth Albertson, a local artist with a disability to create art for the set and props.  In addition, CTM partnered with three organizations serving people with disabilities, Artworking, Achieving Collaborative Treatment (ACT), and CI Pediatric Therapy Centers to create an art exhibition at the Playhouse Gallery at the Overture Center for the Arts.  The exhibition, titled “Creative Life on the Spectrum” is adjacent to the theater where Mockingbird is performed.

“We’re thrilled to partner with Artworking, ACT, and CI on 'Creative Life on the Spectrum’,” says Sanders-Andrews. “The beautiful work in the exhibition coupled with the outstanding work of this ensemble of actors, really highlights the strengths and talents of our neuro-diverse and ability-diverse community.”

For Lance Owens, Director of Artworking, CTM’s production of Mockingbird and the accompanying exhibition advances “the notion that artists with disabilities are professionally viable…Not as a novelty or a feel-good story.  They’re viable because they’re gifted and capable.”

For Olson, she hopes that audiences see Caitlin through a lens of similarity, not difference.  She states too, that her autism has helped her understand Caitlin better.  Berman, too, hopes that the audience will find commonality, not only with Caitlin, but with the entire community. “This show is about healing,” says Berman, “and that’s something everyone can identify with.”