Interview: Deborah Nowinski, Founding Artistic Director of Dionysus Theatre, Talks 'Inclusion Theatre'

HAMILTON proves that ethnically and culturally diverse casts can produce smash hits. However, before the performing arts community can pat herself on the back for being so accepting, she should turn her head to the right. All too often, inclusive theater excludes theater artists with disabilities. Dionysus Theatre founding artistic director Deborah Nowinski has spent decades pushing back against the mixture of prejudice and apathy that makes this so. Below, Nowinksi talks with BroadwayWorld about a most recent effort-her guidebook for educators and instructors seeking to create ability diverse casts- "Your Role in Inclusion Theatre" and much, much more.

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BroadwayWorld: What inspired your book ["Your Role in Inclusion Theatre: The Guide to Integrating Actors with Disabilities and Nondisabled in Your Theatre and Classes"]?

Deborah Nowinski: To be honest, I never set out to write a book. I've heard such nightmares about publishing from friends of mine! Also, running an inclusion theater for 19 years, I always identified myself as a playwright, as I have written seven original plays. I always felt I said it all through my plays and using my extremely talented actors. Tickets were sold, money was made, lives were changed. End of happy story. Glenn Sharp, our musical director, and I were content.

Then about three years ago, I got my first phone call from Katy ISD asking me to come in and lead a workshop for theater educators on inclusion. I was very honored and this took me to the role of "consultant." It was quite successful. I realized that theater educators were hungry for inclusion as more teachers were faced with working with those students with disabilities. There was some fear of the unknown there too. Theatre educators are not trained in dealing with those who may be differently abled. Even in the colleges, it is not taught to our budding future theater educators. But I realized doing these workshops and lectures, I could share my theater experience and open their world, and knock the fear of the unknown out.

One workshop led to another and people began asking me for a guidebook that they could take directly into the classroom. A sort of resource guide, if you will. I finally sat down in January 2015 and for six hours a day, seven days a week, I wrote. I just poured my soul into it. I couldn't stop writing. I heard the questions from the educators that I had received in workshops and lectures and the voices of my actors who desperately wanted to be heard, and respected. I then had to find an editor and learn about the whole new world of book publishing. I finally self-published in November of 2015.

BroadwayWorld: How does your life experience bear on this book?

Deborah Nowinski: In 1998, when I created Dionysus, I knew we'd have a long haul in getting people to understand our mission and our message. There were very few inclusion theaters where actors of all abilities took the stage with dignity and amazing talent. We were misunderstood, and sadly, overlooked by the media. Those in the media shrugged us off as a "sweet therapy kind of program." Even when we performed at the Kennedy Center in 2004, in honor of the anniversary of the ADA [Americans with Disabilities Act of 1990] , the Houston Chronicle wouldn't report on us. I remember them telling me, "well, we're expecting bad rains this week, so we need to cover that story. Thank you!" I have to laugh now about that. Years later, we have made great strides and are award winners and life changers.

The book reflects the journey of what was successful and what doesn't work, how to work with different groups of people and what is needed to get everyone on the "same page" for a professional performance. It's honest. There are real stories in the book. It's a continuing dialogue that I have had for the past 19 years with the public, with the actors, and now with our educators and artistic directors. It really needed to be written. It's allowing those who are creative to experience the best challenge/opportunity ever, and allowing those with disabilities to take their rightful place on the stage. Inclusion also makes quite an impact on actors who are nondisabled.

BroadwayWorld: How is it structured?

Deborah Nowinski: It's basically structured with true-life experiences that we faced and now educators and artistic directors are facing. Every chapter has cool tips, true stories and ideas that the educator/director can jot down creating their own inclusion journal. There is a chapter on communication, formatting scripts, blocking, how to create a successful inclusion cast, writing for your troupe, tips for choreographers and costumers and musical directors. It also breaks down groups of people and what they may need. For example, if you cast someone who is visually impaired, just go to the section on blocking and formatting scripts. It's really from casting call to curtain bow and everything in between including theater games.

I wanted [the book] to be approachable. I didn't want to go academia and stats. I wanted to keep it human. [Now] I'm receiving wonderful emails from artistic directors and teachers. They all comment on how easily accessible it is. The comments are fun: "I feel like I just had a cup of coffee with you and we had this great conversation on inclusion." I am really touched by the reviews and comments. There are also comments on Amazon.com to read.

BroadwayWorld: How did you decide what to include and not include? And how to approach educating educators?

Deborah Nowinski: That was the hardest part when I actually got the nerve to write a "book." It really was nerve wracking! I think perhaps all authors also go through that first initial fear when they sit down. I was so afraid of offending someone, especially the disability community. I never cared if my plays offended anyone - most do - but they are done with such humor the point gets across in a way everyone walks out a little more aware. But, I put so much pressure on myself to "get it right with a book." As stated above, I've been an artistic director/playwright/advocate for 19 years, and writing a book got into the personal for me. I had to visualize what I wanted to say, what was the message, how it would benefit educators/directors. Also, how would it educate those who wanted to learn and those who wanted to be heard? I had to walk that fine line. I wanted so much to tell all the joys we have had in Dionysus, the successes, even the ups and downs of running a theater; I knew I couldn't put 19 years into it. But, in the same token, I had nineteen years of experience to share! So, I thought back to all my lectures, workshops, questions, different experiences I had with my casts and chose the subjects that way. Also,what stories would make an impact on the reader?

BroadwayWorld: How long did it take for you to write it? Were there challenges along the way that made the process longer?

Deborah Nowinski: When people ask me that I always reply, "Nineteen years and 10 months." Because it was a journey. A lifetime of lessons, experiences, heartaches, successes-and it's having to shift people's way of thinking and approaching theater. The challenge as stated above was getting it right, repping the disability community with the honor they deserve. Also now that I see more people in the arts looking towards inclusion, this book is a must-add to their resources! The challenge is how to get the word out nation wide that this book is here. How can I reach more people through workshops and speaking? I guess those are the challenges.

BroadwayWorld: What are some of the pleasurable parts of the process that kept you excited about completing and publishing the book?

Deborah Nowinski: Several things kept me going while writing this book. I was visualizing that more people with disabilities would get a chance to get on stage. That someone in a wheelchair, somewhere, was just dreaming of going on stage and someone, somewhere would read the book and make that dream come true. Thinking about everything we had been through in Dionysus, brought back so many memories - some joyful, some sad, but the tapestry is so colorful. I was also thinking a lot about my sons. My son, Dustin, died of bone cancer at the age of 15. Prior to his death, he told me, "I shouldn't get mad at people. Some people's souls hadn't evolved as of yet." He said, "Your job is to educate the soul." That pretty much has driven my life for the past nineteen years. Also, my son Skyler is a professional musician and actor in Minneapolis. He's very pro-inclusion and I am so proud he is continuing the mission and message. My talented actors in the past nineteen years are in my heart and trust me, they would have been very vocal had I not completed this work! I owe it to so many wonderful people, including my family. When I would get discouraged because publishers rejected my book, I just said to myself: "I've believed in inclusion for nineteen years, look at what we accomplished! I'm not afraid to continue this passion. Those with disabilities need to be heard. I believe in this book." And, well, thank God for self-publishing.

BroadwayWorld: You began Dionysus nearly 20 years ago. What has changed and not changed for theater artists with disabilities in that time?

Deborah Nowinski: Twenty years ago, we had stereotypes on TV or in the movies. We had nondisabled actors playing the part of those with disabilities. Sixteen percent of those winning Oscars where nondisabled repping the disabled. There is that old argument: If someone who is nondisabled is talented, they can play someone with a disability. Okay. I see their point. But it would be laughable if I were a fabulous singer and decided I wanted to play Bess in "Porgy and Bess." Yes, it could be done, but where is the honesty? I'm seeing more movies and TV shows that are inclusive from twenty years ago. I also think People with Disabilities are becoming more vocal and there are many advocates out there who truly want to have themselves represented more honestly. The Americans with Disabilities Act was a game changer also. I believe in the next 20 years, it will get better.

BroadwayWorld: There's been criticism from disability activists of color about the lack of racial and ethnic diversity in the disability movement. (For many, the face of disability is white.) Is this something you think about when casting or choosing stories to tell?

Deborah Nowinski: It's very sad when I receive a phone call and someone asks if we are a "blind to cast company." I have to laugh because I don't think that person truly knows how many visually impaired we do have. But they are asking about color. And I'm thinking it's the 21st century, why are we still asking that question? You see how long it has taken people with color to make a mark in the movies and they still get shut out at times. Imagine how hard it's been for those with disabilities? And, a disability knows no age or color or religion. They are a large segment of our society!

BroadwayWorld: I know Dionysus stages original plays along with popular and classic pieces. Can you give me an example of a Dionysus season?

Deborah Nowinski: A typical Dionysus season would look like this: An original piece created by Glenn Sharp and I such as YADA YADA YADA THAT'S WHAT I'M SAYIN. It's about a community theater in a small Texas town and the fear of those who are "not like us." It's very funny. It makes fun of theater, and small towns (gotta love Texas!) and being xenophobic. It's got our point across - a spoon of sugar helps you swallow your fear better. BOYS NEXT DOOR. HONK. WAIT UNTIL DARK. The Youth Theater has toured the original TRUE CONFESSION OF A BULLY that I wrote. They toured that show for close to four years. So, it's a little bit for everyone, but true casting. When we do mount a show that has no disability in it, such as HONK, it did have a message. Our lead, the ugly duckling who turns into a beautiful swan, was played with someone with disability. It brought the message home nonetheless. We did mount CHILDREN OF A LESSER GOD. Mark Madoff came to see it. What an honor to have the playwright in the house. He said it was the best casting he'd scene since Broadway. He also liked the fact we had people of color in the show too. Total inclusion.

BroadwayWorld: Jamie Brewer, Dionysus Alumnus, went on to star in AMERICAN HORROR STORY. Do you think things are changing for actors with disabilities?

Deborah Nowinski: We were so proud of her when she got cast. When she first came into Dionysus, she said to me, "I want to be a star." I didn't laugh, I believed in her and her dream. There have been other casting directors who have auditioned and used our actors in movies too. I do see some hope. There needs to be more, but I do see people trying to become more inclusive. People with Disabilities aren't going away, so sooner or later, Hollywood or Broadway will have to recognize the inclusion aspect.

BroadwayWorld: You've also had other students reach their goals in a variety of ways. What's your secret?

Deborah Nowinski: Ask any one of my actors and they will tell you "Deb doesn't mess around. She's no nonsense. She expects the best out of us. She's an equal opportunity yeller. She sees us as successful people." I don't coddle. I don't speak down or condescend. I want them to respect themselves. I even took two and a half years of ASL to communicate with my friends who are Deaf. I also understand that people have different ways of approaching things and different ways of processing information. I learned their code and effectively found a way to reach them. But I treat everyone the same.

I tell my actors, "You don't have to like me, but you best respect this mission." That gives everyone pride. A sense of belonging to a cause that goes way beyond the lights. And the learning between those with disabilities and those that are nondisabled is amazing. Life long friendships are made. I always think that what goes on behind the stage and in rehearsals is so exciting. To see both sides come together as one I can tell that my no nonsense manner works. The self-esteem and empowerment that both sides develop truly helps them outside the theater. Many of my actors with disabilities have gone on to better jobs and education. They are leaders, advocates and role models. But I believe in them and I believe they have a lot of say. I always remember I got to educate to that soul for both sides.

BroadwayWorld: You direct and write plays as well as teach classes, among other things. How do you keep up with all these roles?

Deborah Nowinski: Everything I do, I do with passion. I have to believe in the cause. You would be surprised that if you have purpose and are driven with passion, you can get a lot accomplished. Even when times are tough and you doubt yourself, that passion is something so ingrained in you, it pulses with every heartbeat. You just have to find that rhythm again, and keep going. And I believe that sleep is overrated.

BroadwayWorld: What does Dionysus have coming up or in the works?

Right now, we are currently running classes for spring. I'm very busy with lecturing and spreading the good word about inclusion. We are hoping for a full season in the fall and getting back to do what we do best.

BroadwayWorld: Thanks for sitting down with us Deborah!

Thank you for giving me this platform to talk about my book and Dionysus Theatre. I hope others find joy and growth in inclusion theatre.

This interview has been edited and condensed.

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Purchase Your Role in Inclusion Theatre: The Guide to Integrating Actors with Disabilities and Nondisabled in Your Theatre and Classes through Amazon.com. Deborah Nowinski is available for lectures or workshops on Inclusion Theater.

Readers can support Dionysus Theatre by sending a check to Dionysus Theatre, 957 NASA Parkway #456. Call 713-728-0041, visit dionysustheatre.net or email Inclusiontheater@gmail.com for further information.

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