It’s 2:43 P.M., school’s out, and I walk into the PAC with my castmates through the side door, heading straight to rehearsal. We start by taking off our shoes by the “Wet Shoes” sign in front of the green room. I head into the girls’ dressing room to change into athletic clothes, then make it back just in time for our warm-up, “Proud.” After that, we all know the drill: grab our yoga mats and prepare for yoga, led by our director, Joe Huber. Once yoga wraps up, we move into strength training. Then it’s time to start running scenes from the show. It might not sound like your typical rehearsal for a play—and it’s not—but it’s exactly what we need to get ready for our performances.

   From the moment we dive into the script, we know this will be a different experience. The story is rich with layers. The main character Christopher is a young boy with autism, and the story explains his world through his eyes. There is murder mystery, family drama, emotionally challenging moments, interpretive movement/lifts, and so much more. The character of Christopher is quite challenging to portray, and we’ve spent countless hours discussing how to connect with his experiences authentically. Huber is pushing us to think beyond the traditional boundaries of theater, incorporating physicality, movement, and even multimedia elements into our performance.

   Rehearsals are intense. We’re not just memorizing lines; we’re exploring how to embody the mindset and emotions of our characters in a way that feels real and raw. There are moments where we focus solely on the physicality of the scenes — learning how to use our bodies to communicate the stress, anxiety, and determination that Christopher feels. Other times, we dive deep into the emotional work, where the cast becomes more vulnerable and open, running scenes over and over to get the emotions portrayed just right. Some days we only get through one scene, and that shows how dedicated we are to making this show worth seeing.

   Huber said, “There are several things that are different from this play and other plays. Because of the amount of lifting and movement required to do this show, we do an extensive 1-hour warm-up before each rehearsal. Our routine includes yoga, stations, rope jumping, weights, calisthenics, aerobics, and movement activities. Also, this show is unique in that 11 actors play over 40 different parts.  Each ensemble member plays between 3-7 different roles.  The group of actors on stage move all of their own scenery, change costumes, and change characters right before the eyes of the audience.

   This play also faces difficult topics to portray. Huber said, “The main character, Christopher, is a young man who is neurodivergent. The term “neurodivergent” describes people whose brain differences affect how their brain works. That means they have different strengths and challenges from people whose brains don’t have those differences. For example, Christopher is a near-genius when it comes to math but struggles with simple social situations.  One of the challenges in doing this play is representing Christopher and others on the neurodivergent spectrum in a respectful and honest way.  As a special education teacher for the past 40 years, I am sensitive to the representation of students with special needs.  We also have a couple of consultants who will monitor the play for any inaccuracies so that we remain faithful to our main character, Christopher.”

   The play’s structure itself is unconventional—much like the story. It doesn’t follow a simple linear narrative. Instead, it often breaks the fourth wall, immersing the audience in Christopher’s mind and his world. Huber said, “Another reason it’s different from most shows we do is that the show is not linear in nature. Christopher has written all of his exploits down in a book he calls, The Curious Incident of the Dog in the Night-Time.  Although the entire show is a flashback, we see all of the mystery and story elements unfold in quick short scenes which jump from location to location; kind of the way movies are made today.”

   It’s a challenge for us to make sure that every moment, every shift in perspective, feels authentic and intentional. We’re not just performing; we’re inviting the audience into a complex, raw experience, one that requires empathy, understanding, and patience. For example, in our previous show “The Music Man” scene changes would often require extensive work where large pieces would need to be moved. To get to a new area in the story a set change was required. In this play, scenes can shift from Christopher’s mind to his mother’s home, to the park, by simply walking along the stage a little ways. In this play, the people are the set, often forming doormats, flower pots, furniture, trains, and even entire rooms and houses.

   As the show approaches, I feel both nervous and excited. There’s a sense of anticipation that comes with the unknown, but also a deep sense of pride in the work we’ve put in. It’s not just about delivering lines—we need to tell a story that resonates on a human level, one that can only be told through this particular combination of actors, staging, and energy. And when we take the stage on February 21st, 22nd, and 23rd, we’ll be ready to perform something unlike anything the West Ottawa stage has ever seen.

   Link to buy tickets: https: https://wotix.ludus.com/