Sensory Friendly Guide

Once on This Island presents a Caribbean-infused tribute to the resilience of the human heart-ad to love's extraordinary power to tear down walls and transform our lives. Set on a tropical island ruled by temperamental gods, this Tony Award-winning musical follows orphaned peasant girl Ti Moune, who falls for Daniel, the son of a wealthy family. Ti Moune is determined to be with her beloved at any cost, but can her courage overcome the age-old prejudices separating their different worlds?

The set of Once on This Island at the beginning of the show.

SETTING

Haiti, in a community affected by natural disasters

Racial prejudice, some violence and discussion of sex.

Choices While At The Show

Here are a series of options you have while attending Once on This Island:

Before the play…

— Enter the theatre building
— If needed, pick up your ticket at the Box Office
— Before or when the announcement is made on the speakers, enter the theatre and find your seat
— Sit down in your seat
— Listen to the pre-show announcement speech

During the play…

— Stay seated and watch the play
— Move to another section at the back of the main floor seats to move around while watching the play
— Move to one of the standing room sections at the back of the theatre to stand while watching the play
— Move to the lobby to watch the play from a TV monitor
— Move to the lobby for a quiet space with no monitor and less noise

*If you choose to leave the theatre during the performance, you may return to your seat whenever you are ready and when the house manager says it is OK.

During intermission…

— Stay in your seat
— Or go to the lobby. In the lobby, you can:

– Use the restroom
– Look at the art in the lobby
– Buy food or drink at the Mezzanine bar

— Before or when the announcement is made, return to your seat. Watch the second part of the show.

After the play…

— If you wish, applaud during the curtain call when the actors bow
— Exit through the hallway to the Sarah Shallenberger Brown Lobby
— Exit through the balcony door and back down the stairs to the Sarah Shallenberger Brown Lobby
— Or stay seated until most of the crowd has exited to the lobby and then leave at your own pace

Actors Theatre encourages all of our audience members to engage with this performance in ways that are most comfortable for you.

Actors Theatre of Louisville is committed to a judgement-free experience for all audience members. While attending this performance, you might see a variety of behaviors, including:

Stimming: a physical or verbal response to over- or under- stimulation that can provide self-regulation or self-expression. This might be repeated hand-wringing, rocking or clapping.

Echolalia: Some patrons may repeat phrases, quotes and speech. Sometimes, this aids comprehension, and sometimes, this can be a calming or relaxing activity.

Tics: Involuntary movements or vocal sounds (please note: tics and stimming are separate behaviors)

Touch Sensitivity: Some patrons may be very uncomfortable with physical touch from others and/or aware of the sensation of materials on their skin.

Alternative Communication: Some patrons might use non-verbal forms of communication in response to over- or under- stimulation. Types of communication can vary and can include: sign language, typing, body language, facial expressions and/or using pictures.

Fidgets: Some patrons may bring small objects with them to a performance – like stress balls, sewing pads or putty. Using these objects can relieve stress, aid relaxation and increase focus.

Sensory and Emotionally-Intense Moments: The ushers at each performance will have a list of sensory intense moments throughout the play. For example, the list may note lights, sound effects or other sudden changes that could be overwhelming to some patrons.

Special thanks: Talleri McRae, The Kentuckiana Autistic Spectrum Alliance (KASA), Autistics United Kentucky, The Kentucky Autism Training Center and Heidi Cooley-Cook, Micah Peace, Bev Harp, Erin Fitzgerald, Cody Clark, Peyton Stockdale and Natalie Ambrosino.