Sensory Friendly Guide
In the streets of rowdy Vienna, good times are under siege as Lord Angelo cracks down on vice in the Duke’s absence. When her brother is turned into a scapegoat, Isabella discovers that Angelo’s mercy can be bought—but what will she do if the price is too high? Imaginative ensemble Fiasco Theater brings gorgeous music, their passion for language and brilliant comic storytelling to one of Shakespeare’s most provocative plays.
The Measure for Measure set in the opening scene of the play.
Vienna, a majority Catholic city in the Holy Roman Empire, from the Duke’s palace to the streets of the city. Early 1600s.
Sexual coercion and discussion of sex.
Paul L. Coffey plays Angelo, Friar Peter and Elbow
Matt Dallal plays Pompey and Claudio
Devin E. Haqq plays the Duke
Stephanie Machado plays Isabella and Mistress Overdone
Paco Tolson plays Lucio and Froth
Jessica Wortham plays Escalus, Francisca and Mariana
The Duke — The leader of Vienna who grants Angelo temporary powers to enforce the city’s harsh laws. Disguises himself as a friar to keep an eye on Angelo.
Angelo — A noble of Vienna who oversees the city while the Duke is away; played by the same actor as Elbow and Friar Peter
Claudio — A young man of Vienna and Isabella's brother. Arrested on the order of Angelo; played by the same actor as Pompey.
Isabella — A young woman determined to become a nun and Claudio's sister; played by the same actor as Mistress Overdone.
Friar Peter — A monk who helps disguise the Duke as a friar; played by the same actor as Angelo and Elbow.
Mistress Overdone — The owner of a successful brothel; played by the same actor as Isabella.
Mariana — Angelo’s former betrothed; played by the same actor as Escalus and Francisca.
Lucio — A man who spends his time at brothels; played by the same actor as Froth.
Pompey — A pimp for Mistress Overdone’s brothel; played by the same actor as Claudio.
Escalus — A counselor to the Duke who becomes Angelo’s chief advisor; played by the same actor as Mariana and Francisca.
Francisca — A nun; played by the same actor as Mariana and Escalus.
Elbow — A constable; played by the same actor as Angelo and Friar Peter.
Froth — A foolish man who spends time in the brothel; played by the same actor as Lucio.
Barnadine — An imprisoned man.
Choices While At The Show
Here are a series of options you have while attending Measure for Measure
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
Resources
Arrival Guide
What to expect getting to your seat
Sensory Intense Moments
Additional Information
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.