Open Arts Minnesota creates theater opportunities for performers with disabilities

“Sometimes, not everybody is invited to the table. Can we consider a world where all are welcome to this common table?” — From “The Welcoming Table” by Aktion Club Theatre of Mankato

Wearing a sequined top and a broad smile, Christina Kalman, 54, dedicated her version of Ronnie Milsap’s “What a Difference You’ve Made in My Life” to her ailing mother.

Kalman gripped the microphone with panache, crooning the tune with confidence while her fellow actors, waiting their turns to shine, swayed in rhythm and waved their arms.

Soon, 38-year-old Kyle Crnkovic, who revealed he’s on the autism spectrum, took the mic.

“You can do anything you put your mind to if you don’t give up on yourself,” he declared.

Mike Hutchens, 39, followed, reading from his Braille script to urge, “Do not judge me by my looks. We all have wisdom within us and we learn in different ways. Get to know me before you make assumptions.”

Then Hutchens brought down the house with his spot-on, deadpan delivery of a mock infomercial he’d prepared: “But wait: there’s more if you call in the next two minutes,” he parroted.

Kalman, Crnkovic and Hutchens are among nearly 100 actors involved in Open Arts Minnesota, a nonprofit founded in 2018 that coordinates acting clubs in Mankato, Fairmont and New Ulm for people with disabilities.

Last month nearly three dozen actors participated in Aktion Club Theatre of Mankato’s variety-show-like production “The Welcoming Table,” performed at Centenary United Methodist Church.

At the first of two weekend presentations, an audience of about 60 people absorbed the raw truths, humor and honest emotions exhibited when personal anecdotes preceded songs and acts.

“It took a tremendous amount of courage for a few of our actors to be on stage,” said Wilbur Neushwander-Frink, founder of these theaters for people of diverse abilities and ages.

“This production was a little different because the club members wanted to do a play that featured their stories based on writing prompts I’d presented them.”

Mankato resident Neushwander-Frink, 65, started the inclusive theater groups in the early ‘90s when, as an RN working with a residential living provider in New Ulm, she became involved with the Minnesota Self-Advocacy Movement. That predated the U.S. Supreme Court’s pivotal 1999 Olmstead decision supporting greater community integration for people with disabilities.

She’d helped a group craft messages from their experiences to share with legislators. Then her theater background came in handy when they expressed a desire to do a play.

Community theater isn’t typically inclusive of people with disabilities, but Neushwander-Frink was game. United We Stand Players of New Ulm was established in 1994; Aktion Club Theatres of Mankato and Fairmont followed in 2006 and 2017, respectively.

The primary goal? Ensuring that everyone has a chance to shine on stage.

About 30 original plays and decades later, Neushwander-Frink is now backed by an 11-member board, two teaching artists and a part-time assistant who is also an Aktion Club Theatre actor.

That actor/assistant, Amy Jo Piedade, presented a stirring testimonial in late July’s “The Welcoming Table,” which was all about making space and offering acceptance for everyone’s unique traits and abilities.

“They told me I was too fat to do sports or be a cheerleader when I was in junior high,” Piedade said. “But I’m stronger than you think.”

And at 43, with a joyous countenance and pompoms in hand, Piedade led the crowd in a cheer.

“I exist. You exist. We exist … in relevance.”

Neushwander-Frink is quick to acknowledge the broader village that’s supported Open Arts Minnesota and its trio of inclusive theater programs.

From churches like site host Centenary United Methodist, to Kiwanis Clubs in Fairmont and Mankato, to private businesses, to volunteers from every walk of life, the theatrical opportunities are made possible with the help of many community partners.

“And I sing the praises of the Minnesota State Arts Board,” said Neushwander-Frink, crediting its recent grants for foundational support.

But Neushwander-Frink, who as a young child in suburban Chicago aspired to be a professional baseball player before veering into theater as a teenager, is the spark that ignites the actors and their fans.

Open Arts Minnesota teaching artist and poet Esther Marcella Hoffmann attests to Neushwander-Frink’s influence.

“The self-advocacy Wilbur promotes is very much needed in this community, because these actors have to advocate for things we take for granted — like living independently, transportation services, marriage, having pets,” said Hoffmann.

“I admire so much how Wilbur is able to see where people’s talents lie, then delegate tasks to suit people’s strengths so everyone can do their best.”

Actor Eric Hix, 38, endorsed Neushwander-Frink thusly: “Wilbur is one of the best teachers I’ve ever had.”

Shannon Sinning chairs the boards of both Open Arts Minnesota and ISD 77. Four of the 11 Open Arts Minnesota board members are people with disabilities.

“I’ve been on a lot of different boards, and I always look forward to our Open Arts meetings,” he said.

“Wilbur is a selfless, one-of-a-kind leader who’s creative and empathetic. And the others involved are excited to be there, bringing such unique perspectives. It makes me want to empower them in any way I can.”

Neushwander-Frink involves every theater club member in the creative process, which contributes to the plays she’s written for actors with disabilities. Titles like “Quilt Stories,” “Circus Metamorphosis” and “The Other Side” dot the organization’s performing history.

Club discussions coax actors to share issues on their minds, messages they’d like to broadcast to the public and which talents they want to present.

And unlike most theaters — community or professional — there’s no harrowing audition process, even for full two-hour shows.

“No one is cut, and we don’t require memorization,” said Neushwander-Frink, who’s developed theatrical techniques to ensure every interested party’s participation.

“In New Ulm, some of our nonverbal communicators put the dialogue for their characters in their communication devices and activate them to ‘speak’ their lines,” she noted.

Another technique is shadowing, wherein a volunteer or direct support professional unobtrusively follows the actor on stage, whispering lines for them.

“Shadowing has been instrumental in helping everyone be onstage and included in some way,” said Neushwander-Frink.

The uninitiated might question the entertainment value of inclusive theater, but audiences are invariably pleasantly surprised.

“I’m always encouraging people to go with me,” said Sinning. “It’s life-changing to experience this theater style.”

A standing ovation from the Mankato audience confirmed Sinning’s claim as the strains of “This Is Me,” an anthem of acceptance from the musical “The Greatest Showman,” served as the finale for “The Welcoming Table.”

Added Neushwander-Frink, “The culture and environment we cultivate allow our actors to feel safe and empowered to be themselves.

“We strive to create compassionate spaces where people feel respected, cared about, listened to and understood.”

Jane Turpin Moore is a Northfield writer.