For many parents whose children are on the autism spectrum or who have sensory issues, attending a live theatrical performance is not an easy option. These parents worry that their children may be disruptive to others in the theater, including the actors, or just not able to endure bright lights, loud noises or unpredictable movement happening on stage.

Thankfully, though, that is changing as St. Louis area theatrical companies are broadening their reach.

Earlier this year, Imaginary Theatre Company,  the Repertory Theatre of St. Louis’ touring troupe for young audiences, hosted a “sensory-friendly” performance of “Goldilocks” specifically for young children with autism and sensory-processing problems. Two Saturday shows each accommodated up to 80 patrons – parents and children – at the Emerson Studio Theatre, downstairs at The Rep’s Loretto-Hilton Performing Arts building in Webster Groves.

“Having the show in a small, contained environment like the Studio Theatre allowed us to adapt the space in ways that made it very comfortable for the children attending,” explained Marsha Coplon, director of education at The Rep. Before each show began, she explained to the audience what would happen in the play, which is a more modern take on the classic fairytale with Goldilocks learning how to play nicely in the forest and co-exist with nature and the animals.

Coplon, whose background is in special education, said she had been wanting to offer this kind of theater experience for years, but couldn’t figure out the logistics until the small studio space became available.

“Often parents fear that their special-needs child might become disruptive and they will have to leave, or the unfamiliarity of the space or the noise will cause the child to meltdown,” said Coplon. “So they don’t come and that is a true shame. Theater should be accessible and enjoyed by everyone.

“My favorite quote that one parent said to me after a sensory-friendly performance was, ‘This is theater without consequences.’ That’s exactly what theater should be.”

Coplon said that prior to these performances, parents are able to download a narrative that gives specific details – and provides pictures – of what their child could expect. This includes everything from entering the theater, to ushers helping them find their seats, to locating the restrooms. In addition, Coplon addresses the audience before each show to explain what will happen during the performance.

Changes to the performance include blue gel coverings to mute the lighting and removing microphones from the actors. The space also includes an area behind the last row of seats where children could pace if they needed to move around, or even dance, and told parents a “fidget room” was also available if they needed a longer break from the action.

Actor Alan Knoll, who played Fred the bear in the show, said the performances turned out very well. “They really weren’t that different from other audiences because we often perform for very small children who have shorter attention spans. It was actually quite gratifying because the kids were really into it. Some of them were dancing with Fred, which was really touching. I guess they were on my side.”

In the fall of 2011, the Theatre Development Fund (TDF) in New York City launched the Autism Theatre Initiative with a performance of  “The Lion King” on Broadway for children with autism and their families. The performance sold out in several hours, and due to its success TDF offers more sensory-friendly shows and it now advises other performance companies around the country wanting to do the same.

Both STAGES St. Louis (an A&E grant recipient) and Circus Flora have hosted sensory-friendly shows for children and their families, and Opera Theatre of St. Louis (another A&E grant recipient) is planning one this fall as part of its Opera on the Go series for school-age children.

According to Easter Seals Midwest, one in 68 children in the United States have an autism diagnosis. Melanie Mills, director of autism services for Easter Seals Midwest, hopes that more of these performances will take place locally because “every child should be able to be exposed to and enjoy a wonderful performance.”

“We worked with The Rep and Circus Flora, and both did such a great job,” said Mills. “It can be a real struggle for kids with autism to sit through a performance and yet we don’t want to deny them that pleasure.

“We heard from families who went to the Circus Flora and Rep for the first time with their children because they never felt comfortable taking them before. They worried their child couldn’t sit through the show without being loud, or fidgeting or being disruptive and just didn’t want to deal with being embarrassed. They didn’t want their children to be stared at.”

Coplon is already planning The Rep’s next sensory-friendly performance for April 1, 2017, which will be the Imaginary Theatre Company’s production of “My Father’s Dragon.” Based on a children’s book by Ruth Stiles Gannett, it’s the story of a boy who runs away to Wild Island to rescue a dragon and encounters various wild animals along the way. Tickets are $8 and available through The Rep’s box office.

“There are more characters in this play [than “Goldilocks”] and it requires kids making more of a leap with us, using their imaginations, but I think they are going to like it,” said Coplon.

The Repertory Theatre of St. Louis is an A&E grant recipient. For more information, visit repstl.org.