Theater project has ability to promote laughter, understanding
by Kati Stovall
02-23-2007

Close your eyes and enter the room. You hear a director yell out to the cast, “Move stage left, move forward, 5, 6, 7, 8 … !”

You swear that you are at a rehearsal for “A Chorus Line” at the Repertory Theater, but when you open your eyes, the scene is different than what you imagined. The ensemble is the DisAbilty Project, which encompasses both disabled and able-bodied actors. The project exudes raw talent, creates a theatrical vision through word and movement and changes your perspective on life forever.

With like ambitions, Joan Lipkin, artistic director of That Uppity Theatre, and Fran Cohen, an occupational therapist co-founded the DisAbility Project in 1996. They were intent in honoring stories told by people with disabilities, and turning those anecdotes into live theater.

“I’m one of those people who always notices who’s not in the room,” Lipkin said.

Strangely enough, two weeks after proposing the DisAbility Project to the community in ‘96, Lipkin was diagnosed with breast cancer. Now a cancer survivor, she finds the irony humorous, “Well, I guess I crossed over to the other side. It can happen in the blink of an eye.”

For the past decade, DP members have convened every Saturday morning, for a sharing circle and rehearsal in a space donated by Washington University’s School of Medicine’s Program in Occupational Therapy. Participants have disabilities such as spinal cord injury, multiple sclerosis and cerebral palsy. They discuss funny, sad or frustrating experiences. Lipkin is the primary editor, but works closely with DP members and artistic associates such as Ashley Nanney, and Sarah Shimchick in shaping stories into full skits.

There is a mix of serious and comedic pieces, but Lipkin emphasized the importance of humor.

“I think that comedy is really relevant for the disability project, because what we don’t want is for people to feel sorry for us,” Lipkin said. “When we disarm them with laughter, then we level the playing field,” she said.

DP veteran of 9 years, Stuart “Stu” Falk expressed his delight in putting smiles on people’s faces.

“I adore making people laugh, there’s almost nothing more that I would rather do,” Falk said.

For different performances, Lipkin also brings in guest artists to choreograph or direct. Choreographer, dancer and director/owner of The City Studio, Sara Burke, is helping the DP with two pieces entitled, “DisAbility Rap” and “Stop the Violence.”

The challenge for guest artists is making all the blocking interchangeable, because some members are not always able to attend due to work or illness.

Burke’s goal is to create different levels for performers. Actors in electric wheel chairs go up and down, others move from side to side. Arms, hands, legs and heads move to the rhythm.

“What I enjoy is their creativity, and their feedback and interaction with me while we’re doing the choreography. It takes me to a level that I never thought we would go,” Burke said.

Contending with Nelly and Chingy, the “DisAbility Rap” brings with it bling, sunglasses, ski caps and poetic lyrics that stir the soul. Audience members find themselves moving to the beat, and rapping, “My identity is more than a disability.”

In contrast, “Stop the Violence,” takes a more serious tone and makes a commentary on society today. Actors hold blank placards, and have the audience members project their own experiences.

Lipkin passionately illustrated the main point of the piece.

“Where does this eye for an eye get you? Nowhere! Stop the violence! Walk away from the argument!” she said. “It also has repercussions and reverberations for fighting over land rights, fighting over religions … just stop it, because at some point it makes no sense anymore for anybody.”

The DP has reached over 50,000 people, young and old, and has received several awards. In 2004, Lipkin was able to create a low budget documentary on the DP, and subsequently it has been featured in two film festivals. Lipkin in the future hopes to increase the exposure of the DP, and dreams that funds will be easier to raise.

“Even though it is a labor of love, it still has economic dimensions to it. It’s a tough project, it’s not sexy like Opera Theater,” she said.

With a glint in his eyes, Tom Allen, who has been a member for five years, said, “I think we have made differences in schools and children, and some adults. Adults are a little harder to change,” he said, “They’re kind of set in their ways.”

Sadly, his girlfriend, Lisi Bansen was struck and killed by a car last year near Delmar and Jefferson. The sidewalks were not accessible for her motorized wheelchair, and forced her to move to the street.

Allen hopes that by educating the public through the DP, more venues and sidewalks will be more user-friendly for the disabled. Even though the Americans with Disabilities Act mandates accessibility to everyone, it is not always enforced.

Hoping that the DP will one day be looked at as a professional ensemble, Andrew Lackey who has been with the group for eight years enjoys disproving preconceptions.

“I like this work because many people, particularly when we first started, would have said the things we’re doing now would have been impossible or highly improbable,” Lackey said.

“I like showing people that it isn’t.”

For more information, please visit www.disabilityproject.com.

You can e-mail Kati Stovall at kati@excite.com.

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