Commemorating the passage of the Americans with Disabilities Act on July 26, 1990, July is observed as Disability Pride Month.

While there have been milestones to celebrate over the ensuing decades, the way is still being paved by trailblazers, including in the theatre community. Time and time again, we at MTI have our customers to thank for giving us feedback and advice on how we can do our part in making theatre more accessible - an endeavor that is constantly ongoing.

We’re putting two organizations in the spotlight both to honor their work and to remind ourselves of the road that still lies ahead.

“Our Adventure Begins”

Last month, ACT 2, “the children’s wing” of Artistic Civic Theatre (Dalton, GA), incorporated ASL into their production of James and the Giant Peach JR. This proved to be creatively enriching for all involved.

James and the Giant Peach JR. performed by ACT 2 (Photo: Robin Croninger⁠)

“Diversity and inclusivity are essential to the success and sustainability of the arts,” said Artistic Civic Theatre Managing Director Kate Southerland. “Artistic Civic Theatre serves a wide range of actors, volunteers, and patrons. We recognize the importance of producing art that is accessible to everyone that walks through our doors. We are proud to offer a children's program dedicated to including every child that shares a passion for theatre and the arts. We want to thank the ASL interpreters who dedicated their time and efforts to teaching the language to our cast members for James and the Giant Peach JR. This production was a beautiful example of the passion inclusivity inspires.”

Co-director Ashlyn Barnett and performer Kyra Parks gave us a deeper look into their production.

What sparked the idea to incorporate ASL into your production?

Ashlyn Barnett: I have been working with my student Kyra Parks for 4 years now. She uses hearing aids and has an interpreter, Mr. Andy, who assists her during the school day. Kyra is a fiercely independent young lady, and I noticed that from the very start of working with her. It took her some convincing to get up on stage, as she never wanted to be looked at as being different from other students.  When I finally convinced Kyra to be more than an ensemble member, we began to work on how to include her in ways that made her feel more comfortable performing. While she doesn’t always feel comfortable with speaking lines, she had an incredible stage presence and was able to portray her lines using ASL with so much storytelling power that was unique to her.  Using ASL in a production with a deaf actress allows her to use her deafness as an asset and not a hurdle. Bringing hearing peers in to learn lines and songs in ASL alongside her allowed us to introduce our young performers to a new way to tell stories and give them empathy and understanding to those who communicate differently.

What was the learning process like for the students?

Barnett: The hearing students who were asked to perform their lines and solos in ASL were excited about the challenge. We had two interpreters who came and worked with our students to help them learn their lines and songs. They recorded videos for each character to practice at home and watched rehearsals and gave feedback to the students as they learned.  Watching them become more and more comfortable as we neared performances was so much fun.

How did including ASL change your perspective on accessibility in theatre? Has it changed how you approach theatre?

Barnett: Since working with Kyra, my thoughts on a show automatically go to accessibility. It's a constant learning process. We never get it 100% right, but we learn by trying.  Looking at kids with a disability and thinking of all the reasons being in a musical won't work for them is easy.  When I have a student with a disability audition for a show, I want to automatically think of ways that I can not only make it work for them, but allow them to be the most successful in it. It's a constant learning process. We have students with all kinds of disabilities who are involved in the arts in our community. I have students who are wheelchair users, have mobility restrictions, learning disabilities, medically complex students who have sensitivities to lights, or need to miss rehearsals for appointments due to fatigue.  As an arts community, we all need to be constantly asking ourselves these questions and finding new ways to make theatre accessible for everyone all the time. 

What advice do you have for theatres and schools considering integrating ASL into their productions?

Barnett: I think that ASL has a place in any production!  There are people in every community that communicate using ASL who would love to come to the theatre and be involved. The key to using ASL successfully is a great team.  Having ASL interpreters who can assist and give insight to your creative team makes such a huge difference.  American Sign Language is theatrical in nature, so it is so easily translated into a performance.  The expressive nature of the language lends itself to a theatrical production organically.  The more exposure your community has to people with disabilities as a whole, the more normalized and integrated into the community those people become. Exposing our community members to things like American Sign Language helps to make our communities more welcoming and eager to learn from those who may not be just like us.

Photo: Robin Croninger⁠

Why do you think it's important to show the use of ASL on stage?

Kyra Park: There are many ways sign language could be important. I think it is because you don’t really see many shows using sign language which gives deaf people less shows to go watch for fun. It gives people more options to enjoy watching a show because it helps us deaf people understand better. Also, I think it could be fun to use it in shows since a lot of hearing and deaf people love to learn how to use sign language! 

How do hearing people benefit from seeing a show using ASL?

Park: I think people who want to learn sign language could benefit from watching these bc there is an actor who says it and there another that signs it, and hearing people who want to learn can watch the person signing and learn from it! 

What does it mean to you as an actor to perform in ASL?

Park: It means a lot to me, since I’m deaf myself I have hard hearing and I know others would have hard time hearing when it comes to shows. It also really feels like there's a place that others want me to use sign language because there are not many places where I can express myself that way where people who don’t know sign language can understand. I think singing is important and I love music, but singing is different for deaf people, and I can do it with my hands the same way other actors can with their voices. It makes deaf people feel like we are seen when people use sign language. 

The Pride of the FoCAL Center

Founded in 2004 by Dr. Andrew Morgan, The Penguin Project “provides a supportive environment for children with disabilities to explore their creative talents.” For participants, theatre is a tool for empowerment and growth. Over several months, they rehearse and perform a show with a “peer mentor” assigned to them for the whole production process.

Earlier this year at JTF Atlanta, we had the pleasure of watching the Forsyth County Arts and Learning (FoCAL) Center (Cumming, GA) Penguin Project chapter perform selections from The Lion King JR.

FoCAL Center Penguin Project at JTF (Photo: Avery Brunkus for Junior Theater Festival)

We also had the pleasure of learning more about the chapter from FoCAL Center Director Dawn Phipps.

How did the FoCAL chapter of the Penguin Project begin?

Dawn Phipps: The FoCAL chapter of The Penguin Project began in January 2022 just a few weeks after our official grand opening in December 2021.

From the start, FoCAL wanted to send a clear message: that it is a facility for everyone. It was important that the first-ever FoCAL-produced event was a Penguin Project show. This was a deliberate and meaningful choice to demonstrate the Center’s deep commitment to inclusivity and its dedication to serving all students and members of the Forsyth County community.

By launching with a Penguin Project production—where students with developmental disabilities (“artists”) are paired with peer mentors to perform a Broadway-style musical—FoCAL highlighted its mission to create an accessible, welcoming space where every student can shine. It set the tone for the kind of creative, supportive environment FoCAL strives to be.

Talk to us about the rehearsal process between the performers and the peer mentors. What impact has this collaboration had on those involved?

Phipps: At the heart of every Penguin Project production at the FoCAL Center is a powerful partnership between the performers—young artists with developmental disabilities—and their peer mentors, who are typically students from local middle and high schools. These partnerships begin at the very first rehearsal and grow stronger with every session.

The rehearsal process spans several months and mirrors the structure of a traditional theater production: learning lines, songs, choreography, and stage direction. But what sets it apart is the unique bond that forms between each artist and their mentor. Mentors are more than just helpers; they are full participants who rehearse side-by-side with their partners, providing guidance, encouragement, and friendship every step of the way. They model the movements, echo lines, and even share the stage during performances—always there to ensure the artist feels confident and supported.

This inclusive process fosters mutual respect, patience, and empathy. For many of the artists, it’s a chance to express themselves creatively and build confidence in a safe and welcoming environment. For the peer mentors, it’s often a transformative experience that broadens their understanding of others, strengthens their communication skills, and opens their hearts.

Photo: Avery Brunkus for Junior Theater Festival

Has the Penguin Project changed your perspective on accessibility in theatre? Has it changed how you approach theatre?

Phipps: Before experiencing the Penguin Project, many think of accessibility in theatre as simply adding physical accommodations—ramps, ASL interpreters, or audio descriptions. But the Penguin Project reveals that true accessibility is about creating meaningful opportunities for participation. It’s not just about watching theatre—it’s about being part of it.

Through this program, we see that every individual, regardless of ability, has a story to tell, a character to become, a spotlight to step into. Accessibility becomes less about limitation and more about adaptation, support, and celebration.

What advice do you have for theatres or schools considering establishing their own Penguin Project chapter or creating other accessible spaces in theatre?

Phipps: Starting a Penguin Project chapter or any inclusive theatre program is a transformative step toward equity in the arts. While it may feel overwhelming at first, the guidance, resources, and community already exist—you don’t have to do it alone.

Here are some key pieces of advice to help you get started:

• Reach Out to Dr. Andy Morgan and the National Penguin Project Organization!  One of the smartest first steps you can take is to connect with Dr. Andy Morgan and the team at the national Penguin Project organization. They’ve built a time-tested model that works, and they offer a comprehensive support system—including training, program guides, best practices, and ongoing mentorship. Lean on them. They are the experts, and they want you to succeed. Don't reinvent the wheel—follow the model, and you’ll be amazed at how seamlessly it can come together.
• Lead with Purpose, Not Perfection! Your goal isn’t a flawless show—it’s a meaningful, inclusive experience. Trust that the joy and growth will shine brighter than any technical detail. Start with heart, and the rest will follow.
• Partner with Your Community! Collaborate with local schools, special education teachers, therapists, and family networks. These partnerships will not only help identify participants and mentors but will provide vital support, guidance, and community buy-in.