STAGE

Syracuse Stage’s “How To Dance In Ohio” is a simple yet poignant tale with stunning performances. (Photo: Curtis Brown)

“Ain’t Misbehavin’” at The REV is a lively tribute to Fats Waller featuring five electric performances. (Photo: Ron Heerkens, Jr., Goat Factor Media Entertainment, LLC)

“HOW TO DANCE IN OHIO” IS REFRESHING

AND INSPIRING By Barbara Adams

Two strong ensemble musicals wrap up the summer season, and it’s well worth the hour-long drive from Ithaca to see what’s happening at both Syracuse Stage and Auburn’s e REV. versity of Michigan, Liam Pierce is exceptionally sensitive. Concerned parents, alternately protective and prodding, are handsomely played by Nick Gaswirth, Darlesia Cearcy, Haven Burton, Carlos L. Encinias, and Melina Kalomas.

Syracuse’s production is particularly special, as it’s the world premiere of “How to Dance in Ohio,” a musical based on Alexandra Shiva’s 2015 documentary, a Sundance premiere, about autistic teens preparing for their rst formal. ( e stage project was originated by Broadway’s Harold Price.) e story of young people facing their fears is fairly straightforward, but its unfolding is emotionally complicated. Rebekah Greer Melocik wrote the book and lyrics, with music by Jacob Yandura, and Sammi Cannold’s excellent direction serves their talents well. e context is a therapy group under the guidance of Dr. Emelio Amigo (Wilson Jermaine Heredia), whose loving counsel challenges the teens to take risks. Ever focused on social skills, Dr. Amigo has decided that more than three months is enough time to attempt learning to dance. Besides involving the uncomfortable act of touching, this also means nding the right clothes, making small talk, and perhaps even asking for a date. e students are terri ed, and thrilled. eir self-doubt and anxiety are exquisitely played, and what strikes one is how absolutely familiar all their concerns are––their desire for control, apprehension of what’s new, and fear of failure. It’s just that, coming of age, most of us perhaps felt this less intensely, or at least learned to numb ourselves to the devastating threat of uncertainty. We developed a thicker skin. e simple tale is poignant in itself, and what makes it more so is that all seven young people are themselves on the autistic spectrum. eir performances are stunning. Conor Tague’s Tommy is endearingly comical; Ashley Wool’s Jessica and Amelia Fei’s Caroline are best friends with boy problems; Demond Edwards’ cheerful Remy lives for dramatic costuming; Madison Kopec’s shy Marideth nds safety in facts; and Imani Russell’s Mel’s is as wise as she’s well read. And as Drew, who’s been groomed to study math at the UniInevitiably, the parent who pushes the hardest is Dr. Amigo himself, whose daughter Ashley (a self-possessed Marina Pires) tries repeatedly to show him she doesn’t intend to return to her dance career. Both the doctor and their parents hope these neurodivergent teens can make friends, attend college, eventually be independent. But even as the students learn they can’t predict outcomes, the adults must learn the same. Robert Brill’s plain set, lit by Bradley King, presents a rotating oor and rolling chairs, against a dazzling backdrop of signage lights and prom dresses––the prosaic everyday and glimpses of glamour combined. is show’s songs amplify the emotion of these diverse and fascinating teens (musical direction by Continued on Page 15 Arts & Entertainment