We take a look at what is being said about the musical based on 2015 HBO documentary, created by Rebekah Greer Melocik (book and lyrics) and Jacob Yandura (music).
New York Theatre Guide: **** “At the heart of the wonderfully performed but uneven musical How to Dance in Ohio beats a reality for its key characters that is at once simple and profound.”
The New York Times: “Perhaps it’s enough that “How to Dance in Ohio” offers solace and encouragement in a mild, conventional package. (There are cool-down spaces for those who need them, as one of the actors explains in welcoming the audience.) Doing sweet, reparative work for any part of humanity means doing sweet, reparative work for it all.”
Variety: “Under director Sammi Cannold’s staging, the actors perform with verve, commitment and authenticity — and, in a few cases, show some real star power. Liam Pearce, as the engineering-loving Drew who finds safety in literal numbers, is sensational, with a voice that soars with emotion and which solidly lands the show’s big number, suitably called “Building Momentum.” He also has, to use the word of the year, undeniable rizz.”
Deadline: “And as loving and sweet-natured as Cannold’s direction is, it, and the show, is destined to live in the inescapable shadow of that Tony-winning musical populated with othered teens also demanding independence and dignity in a world not of their making. Kimberly Akimbo, that perfect show just a block away, raised a bar that How To Dance In Ohio just can’t limbo past. It’s not fair, but its the type of challenge Dr. Amigo’s clients would accept.”
Entertainment Weekly: “How to Dance in Ohio — which features sparse staging and hardly any costume changes until the big dance itself — often misses by trying to cover too much ground from too many different angles and perspectives. And the music as a whole is only okay. But the moments that do hit — when we see these young adults confronting trepidation and unfamiliarity, and just generally celebrating life — hit hard, and will resonate with both the neurotypical and neurodivergent alike. Just ask all the folks in my row reaching for tissues.”
Talkin’ Broadway: “The autistic actors, all making their Broadway debuts, perform with grace, charm, and skill, and it is wonderful to see the spotlight shining on them and on their characters. But it is unclear as to the intent of the show, which lacks much by way of character development, dramatic tension, or insight. Perhaps it adheres too closely to the more effective source material instead of exploring its points in greater depth, or perhaps the creative team sees it as a first step in the theatrical depiction of autistic characters. But even as we cheer them on and take delight in their triumphs, there is not enough here to make this a successful film-to-stage translation.”
Time Out.com: **** “Directed with sensitivity by Sammi Cannold, How to Dance in Ohio is an underdog itself: a modest production of an original musical that originated in Syracuse, New York, and—like another sincerely inspirational audience-pleaser, Come From Away—rose on its own merits, without big stars, hit songs or well-known pop-culture IP. “Going places / I am going places / There are places I need to be,” sing the actors in the opening number. “But most of the spaces / That I want to get to / Were not designed for me.” Whether it was designed for them or not, they’ve made their own space on Broadway now, and proved that they belong.”
Theatermania.com: “How to Dance in Ohio being on Broadway at all is a radical act, centering autistic experiences in a way that has never been done before. Previously, autism on Broadway was mostly just hinted at, mischaracterized, or portrayed by non-autistic actors. As Remy sings, “This whole conversation needs a huge overhaul, and if we simply do nothing, nothing will change at all.” How to Dance in Ohio is a vital step in the right direction, helping Broadway change for the better and become a more accepting, accessible, and autism-friendly place.”
The Wrap: “Far more successful in dealing with the opposite sex is the autistic young character named Drew, as played by the aforementioned Pearce. He is the student who decides to go to college in Ohio rather than jump the state line to follow Dr. Amigo’s misguided plans for him. In his Broadway debut, Pearce rises above all the narrative chaos and otherwise lackluster material to channel a young Jude Law who can sing. A star is born under the least likely of circumstances.”
NYPost.com: “The actors make the best of what they’re given, though. Pearce, in particular, has a nice, bright, musical theater voice.”
Broadway News.com: “The heartwarming new Broadway musical offers insight into seven autistic young adults’ pursuit of self-determination.”
To find out more about the musical visit: https://howtodanceinohiomusical.com/