Sensitive to the needs of the sensitive

The stage was set. Trees surrounded a large moon. A witch danced around with a straw broom.

But the lights were dimmer than a standard production and the dialogue softer.

For children, watching their first live theater can be an exciting experience, but for those with autism spectrum disorder, it can be uncomfortable.

The Segerstrom Center for the Arts’ new “sensory-friendly” performances make special accommodations for children on the autism spectrum, who are sensitive to loud noises, bright lights and sudden movements.

The audience at Saturday’s show wasn’t deprived of sound and visual effects. The cues were simply executed in a more toned-down and controlled environment.

The witch needed help starting her magical brew. So she turned to the children in the audience and asked them to stomp their feet.

Poof!

Fog bubbled out of the black kettle.

“I couldn’t have done it without all of you,” the witch said as she smiled at the children.

The Segerstrom Center kicked off its first sensory-friendly show on Halloween with the children’s show “Room on the Broom.”

Two more sensory-friendly shows will be offered in the 2015-16 season until March 19.

Given the response to this one, the theater is anticipating offering even more. A crowd of 100 attended the Oct. 31 performance of “Room on the Broom,” with ticket prices starting at $20.

To accommodate special-needs children, the theater reduces its sound levels and stage lighting, allows kids who might feel uncomfortable or in need of a break to move around, and provides low ambient lighting so patrons can see where they are going.

The show is capped at 90 decibels. Strobe lights are shut off, and house lights are lit at about 30% of the standard theater lighting.

The use of iPads or smart phones is permitted during the performance if the device is being used for communication purposes.

Segerstrom additionally provides a visual guide to families who are considering attending such a show.

The guide contains information about the production and its characters so children can become acquainted with the show ahead of time and not be unnerved by surprises. For instance, the guide to “Room on the Broom” explained the sounds, including the fact that a dragon would roar and stomping would be encouraged.

But the script is never changed.

“These families are reluctant to go out to normal performances because they don’t want to disrupt the show,” said Larry Houser, founder of Fullerton Cares Autism Coalition, who brought his son, who has autism, to “Room on the Broom”. “But they are a lot more comfortable coming to these events.”

After Saturday’s premiere sensory-friendly show, audience members expressed appreciation for the new program.

“You guys nailed it,” said Simran Garcia, outreach coordinator at national organization Talk About Curing Autism (TACA). “To see everyone laughing and smiling — I’m just so happy.”

Until the last five years, concerts at performing arts centers around the country weren’t widely available to special-needs children. But that shifted when major movie theaters and sports arenas began offering autism-friendly programs.

Theater has recently also accommodated to this audience. Such a form of entertainment is adaptable since effects like noises, lighting and shocks can all be tailored to a specific audience.

Amy Harris, the actress who played the witch in “Room on the Broom,” has done several shows for young children. Each production, she said, whether for one show or a run of shows, had been adapted for those with sensory needs.

“I have a very strong desire for theater and stories to be accessible to all people, whatever their sensory needs, so to be involved in this kind of production means that I can be part of opening up that access,” Harris said. “That to me is a privilege.”

Cast and house staff members have also been trained to know what to expect.

“We don’t shy away from a distraction,” said actor Luke McConnell, who played the dragon in the show. “We stay in the moment and improvise with it.”

Researchers have found that theater benefits children with autism; studies have reported an increase in socialization, communication and other skills.

Blythe Corbett, an assistant professor and clinical psychologist in the psychiatry department at Vanderbilt University, in Nashville, Tenn., conducted a study on the effects of a theater-based form of therapy for children with autism. The study assessed a two-week summer camp where counselors were paired with youths with autism spectrum disorder.

Her research, published in journal Autism Research in 2014, reported differences in social awareness, social cognition, face processing and interaction with familiar peers.

There has been a large demand for accommodation, especially in California, since in the last 10 years the autism rate has increased nearly fivefold in the state.

A 2011 California Department of Education study found that about 1% of all children enrolled in the state’s public schools are diagnosed with autism. Orange County has the highest rate, with 1.5%; one child in 63 has been diagnosed with autism and is receiving special education services.

Terry Dwyer, president of Segerstrom Center for the Arts, said staff members had noticed the autism-friendly programs in the East Coast nine months ago. He and the staff began a dialogue and decided to launch sensory-friendly programming in the 2015-16 season. The idea is to eventually offer further sensory-friendly programming across the center’s other series.

“We have an overall unshakable resolve to engage every Orange County community member,” Dwyer said. “It all came together nicely, and we’re hoping this is a valuable experience for all our patrons.”

The next sensory-friendly performance at the Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa, is “Big Bad Wolf.” It will be performed in the Samueli Theater at 1 p.m. March 5. Tickets start at $20. For more information, call (714) 556-2787 or visit scfta.org.