‘How to Dance in Ohio’ brings a fresh perspective on queer visibility to Broadway

The Rundown

Broadway’s latest original(ish) movie-to-musical adaptation, How to Dance in Ohio, finds inspiration in the 2015 documentary of the same name, which follows a group of autistic teens and young adults preparing for a spring formal dance.

Based on events at the real-life Amigo Family Counseling Center in Columbus, Ohio, the stage production premiered regionally at Syracuse Stage in 2022, starring seven autistic performers, each now making their Broadway debut.

No Tea, No Shade

How to Dance in Ohio takes two monumental steps forward in bringing visibility and a range of breakout performances among its lead performers, who dismantle stereotypes with humor, vulnerability, and vocal nuance on par with the industry’s leading talent.

Jacob Yandura and Rebekah Greer Melocik’s score lacks the soaring melodic hooks of Dear Evan Hansen or the driving force of Alicia Keys’ Hell’s Kitchen (transferring to Broadway next spring). Still, under Sammi Cannold’s direction, each character finds their moment to shine.

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In collaboration with Cannold, choreographer Mayte Natalio keeps group sequences shifting and dynamic — it is called How to Dance in Ohio, after all — staying true in style to service the story and allowing whimsical nuance, like Conor Tague’s overly enthusiastic Tommy, to shine through.

The musical takes one step back in its parental portrayals, which feel like unnecessary broad strokes on a painting already taking shape. Facing an uphill battle with seven separate storylines, there’s not enough time to develop family relationships except for Marideth (Madison Kopec) and her widowed, financially struggling father (Nick Gaswirth). Similarly, Caesar Samayoa’s Dr. Amigo, though central to facilitating his clients’ success in developing life skills, eats up time that could be more valuably spent on the lives taking shape.

Let’s Have a Moment

Not only does How to Dance in Ohio hold space for an array of previously untapped talent, but the musical also acknowledges and celebrates queer visibility in all its rainbow iterations. Both actor (Imani Russell) and character (Mel) identify as they/them, and while the identification doesn’t drive the narrative, neither is it traumatized or played for effect. Mel is simply queer and faces workplace and friendship challenges like we all do as we move through early adulthood. Desmond Luis Edwards (he/they) turns up the fab factor as Remy, the cosplay-loving influencer-in-the-making who knows how to turn a look and flare a cape.

The Last Word

How to Dance in Ohio tears down ableist cliches and reminds audiences that the core symptoms of autism vary among individuals, stating that “our vision begins with our desires.”

The vision to bring the production to a Broadway stage (without marquee names or recognition like this season’s earlier movie musical arrival, Back to the Future) has attracted dozens of producers, including pop icon Paul Abdul and rapper Ludacris. And that inclusion extends beyond the stage.

A sensory advisory guide enables theatergoers to prepare for the experience, while on-site “cool down” spaces provide areas to take a breather or move around. But what’s happening onstage is not to be missed. Though Robert Brill’s skeletal scenic design and Sarafina Bush’s uninspired costumes (90 days to prepare for the dance and nobody changes clothes until their big “reveal”?) leave most of the burden on the acting company, this troupe of newcomers is up the challenge, and they’ve got the moves to prove it.

How to Dance in Ohio plays on Broadway at the Belasco Theatre.  

@ohiomusical @Paula Abdul did our dance, now it’s your turn!! #newmusical #broadway #musicals #paulaabdul #tiktokdance #dance ♬ original sound – How to Dance in Ohio