Theatre Workplace Accommodations with Alondra Santos-Castillo

Episode Transcript
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Nicole Zimmerer (00:17):
Welcome to Break A Leg! A podcast that
explores the relationshipbetween disability and the arts.
I'm your host, Nicole Zimmerer,and on today's episode our guest
is Alondra Santos-Castillo.
Alondra is a theatrical stagemanager, scenic designer and
artist. Her disability ofarthrogryposis has never stopped
her from accomplishing what shesets her mind to. Alondra, we

(00:41):
are so excited that you're here.
Thank you for agreeing to comeon to the podcast.

Alondra Santos-Castillo (00:48):
Thank you so much for having me. I'm
excited to be here!

Yeah, yeah, it's gonna be a lot of fun. So
our first segment, as always, isSpilling the Disabili-Tea, where
we take a look at historical orcurrent events, or share some
interesting facts relating tothe disabled community. And on
today's episode there'simportant tea to be spilt
regarding a law that's coming upfor a vote in Congress and the

(01:14):
Senate. And it has to do withSSDI, which is social security
disability income. So for thoseof you who don't know, SSDI is
the benefits that help disabledcommunities every month with
rent and food. And there's a capon how much money a disabled

(01:37):
person can make. And it's $2,000a month. And if you have more
than $2,000 a month, you canlose your healthcare, your
Medicaid or your Medicare, whichif you qualify for SSDI, there's
a high chance that you qualifyfor Medicaid and Medicare. But
if you have more than $2,000 amonth, you can lose your

(02:03):
Medicaid and Medicare. And thosetwo health care providers help a
lot of disabled people pay forvery expensive necessities like
a homecare worker, or um...

So really quick, what's with
the--because I'm like reallyinterested in this--so they're
trying to fix that law?

Yes, yeah. So they're trying to amend the law,
so disabled people can have morethan $2,000 in their bank
account. Because when they madethe cap $2,000, this was like in
19, like, I don't know, 80something, when $2,000 was more
than enough to live and work andall that good stuff. Because

(02:45):
SSDI is supposed to helpdisabled people and the elderly
to stay out of poverty. But whatit's done now, in our current
economic climate, is it's forcedpoverty.

Yeah.

Because it's, and, excuse my French, but it's
bullshit.

Oh, it's terrible. That's why I
actually haven't worked a lot.

If I have, like, I can only have $2,000 in
my bank account right now. Butif I have, let's say, $2,000.01,
the government could be like,"Oh, you have more than enough
money to sustain yourself, youdon't need these benefits."

Yes, it's terrible. It's very
frustrating, because you know, alot of... you know, I would love
to work and do so much moretheatre and stuff, but at the
back of my head, I have to bevery mindful of, "if I started
making too much money, I'm gonnalose all my health benefits."
And you know, a lot of for mycase, I need to get braces for

(03:47):
my feet, that is covered undermy insurance with that. So it's
very terrifying to do, you know,I want to...

Right.

It kind of limits you as like, you know,
moving to being an adult,because--

Yeah.

--you want to go out and get a job you
want to, you know, save up toget a house and stuff. But
having like this, you know, socalled "benefit" hinders you so
much more--

Right.

--than what I think it's really
intended for. Because now it'slike, "Oh, I just have to be at
home and do nothing, because ifI make too much money, I'm gonna
get penalized for it." Where2000 is nothing, like that can
get you one month of rent, andthen you're back to square one.

Right. Right.

So it's practically nothing.

I mean, and like it hinders everything for
me personally, because like, I'mat that point in my career where
I can start getting paid for mywork, and I should be getting
paid for my work. But every timeanybody wants to pay me for my
work, I have to double-check andmake sure that I can without

(04:54):
losing my very importantbenefits that I need to survive
and have a, like, fruitfulcareer and a fruitful life. And
I feel like everybody's like,"Oh, these people on benefits,
they should really like be, youknow, functioning members of
society." Like and I'm here totell you, we want to be that. We

(05:16):
want to get a job. We want tohelp. We want to be in the
workforce, because we want to beadults. And we are adults.

Yeah!

I have been waiting for this moment--

Yeah.

--for a very long time, and the fact that
it's finally happening, and Idon't know if they're gonna pass
it, I hope they do. It's very,um, for someone who doesn't have
a lot of hope, it's very hopefulfor me. I don't know about you
Alondra, how do you feel?

Yeah, I mean, I would love for that to
be passed through. I feel likeit's about time for something
like that. I don't know, it's...
it's just, it gives me hope thatmaybe something can change. But
I don't know how much it will.

Right.

Like, are they gonna still try and
keep us locked into theirsystem?

Right, right.

And then another thing that I think
I'm starting to also worry aboutis, since I recently got
engaged, I know my mom said, wemay end up losing it anyway
because I think--

Right.

--at that point, once you become
married, they start looking atyour partner's income as well.

They do. They do.

So the moment he makes 2000, I've
already lost it. And he'sworking right now. So.

Right. Right.
Because fun fact, for all of ourlisteners, disabled people don't
have marriage equality, becauseI've had friends who have been
with their partners like 15, 20years, and they're like, "we
want to get married, but wecan't, because if we get
married, I lose my benefits,which means I lose my home
healthcare worker, I lose this,I lose that, etc, etc." And I

(06:52):
don't know about you Alondra,but that does not sound like
marriage equality to me. So.

Yeah, not at all. That's just telling
you, you should stay single, andyou're not allowed to have the
benefits of living a life.

Yeah.

Yeah.

Yeah. I mean, like, not only like do we, do
you lose the benefits if you getmarried, like, but if you don't
get married, you don't have anybenefits of being married. Like,
if your partner gets sick, andis in a hospital, you don't have
the privileges that a marriedpartner should have. Because
even though you are in thatcommitted relationship, you

(07:34):
aren't legally married,therefore you have no legal
right as their partner. And Ijust think it's a very slippery
slope. It's basically what theLGBTQ community went through
before 2015. And I'm so gladthat we got gay marriage
legalized, and I'm so glad thatthey have that. But it's time

(07:54):
for the disabled community notto be an afterthought. So.

Alondra Santos-Cast (08:00):
Absolutely.

I'm really excited about this. And if you
want to help, our listeners, youcan call your senators and
representatives and tell themthat you support the passing of
S.2065 and H.R.3824. So tellyour senators, call your

(08:23):
representatives, and tell themthat you support S.2065 and
H.R.3824. And I think that's ourmost important Disabili-Tea
spilt in a very long time. AndI'm very excited. So hopefully,
if that passes we can have, wecan do more work, Alondra. I

(08:45):
don't know about you, but I'm--

Yes! I want to work!

--itching to get back. Even after like 15
months of complete nothing.
Well, um, not wait no! That'snot true. I saw a lot of great,
you know, pandemic theatre. Andwhen people say that "theatre's
been dead" for 15 months, I say,"Mm, that's kind of elitist."

They've just been doing the new means of
technology.

Right. We've been adapting.

Adding new skills.

Yeah. Which--

Yep.

--you know, is something that theatre people
are very good at. We're verygood at adapting. And I think as
disabled theater people, we aresuper good at adapting.

Oh yeah!

We're like Mario when hits that, you know,
sunshine thing.

Hahaha! Oh, yeah!

I don't know.
I've only played it like once.
But it was like, really... itwas an informative moment for
me, um, playing that video game.
But yeah! So, Alondra, how areyou doing?

I'm doing great. How about yourself?

I'm great. Um, where are you right now? Where
are you calling in from?

I'm calling in from Norristown,
Pennsylvania.

Love Pennsylvania. Love it. So let's
jump right into it. Like we hada very serious discussion about
politics. And now let's, youknow, do a total pivot into the
arts. Alondra, do you mindtelling the people listening who
you are, what you do? Like,what's your damage? Like, tell
us, we want to know. We want toknow all the juicy secrets and

(10:12):
all the juicy details.

Oh, I got plenty of details for you!
Just you wait. But um, haha.

Good.

So I was born with arthrogryposis.
And that means that I was bornwith club feet, and it also
affects the hands. So I havelimited motion in my hands. And
then especially when it comes tothe feet, I'd be forced to walk
only on my toes, like my bonestructure was in that formation.

Mm-hm.

So I've had to deal with a lot of
surgeries over the years wherethey've broken my ankles. And
you know, some, most of thesurgeries have failed. And I
found one doctor that actuallysucceeded with that. But my
whole life, lots of surgeries.
They also mentioned, I could dosurgeries on my hands. But they
were not confident that I wouldstill have my artistic ability

(11:07):
with that.

Yeah.

So I made the decision that, I have
come so far to adapt to how I'mliving, that I would rather not
go through with a surgery thatmay push me back even further on
where I've come to.

Yeah.

So I chose to keep my art over, you
know, being someone that'scloser, you know, to the
quote-unquote "normal." Thateveryone--

Or the typical.

Yeah, or the typical.

Right!

So that's a little background.

And was that a hard decision for you?

Uh, I don't think it was a hard
decision. I know my mom, youknow, she would want you know,
the best for me. But I cared waymore about my art than just
being able to have "typical"hands or be able to do other
motions.

Yeah.

I didn't want that risk factor. I
cherish my art too much. It'sbeen with me since I was little
up to now.

Yeah.

So it's a huge part of my life. So I was
like, I can't get rid of that. Idon't like that. There's no
guarantee. No, thank you.

Yeah, yeah. And that, um, that brings us to our
first question. When did youknow that you were an artist?

I knew I was an artist ever since I was
a kid, I'm pretty sure, becausemy mom told me I used to draw
all the time. She said I evenlearned how to draw with my
feet, which is very shocking. Idon't remember that. But
apparently that was a thing Iused to do. But as I grew older,

(12:44):
like especially like in middleschool, like I would draw
throughout class. Like I was ontop of my schoolwork, but I
would love drawing all the time.
When I got to high school, Ireally honed in on my art
skills. And I focused a lot moreon like acrylics, charcoal,
ceramics, graphic design,photography. I've kind of delved
in every bit of art that I couldwhile I was in high school, and

(13:09):
that also includes theatre, aswell. One of my aides for
school, she actually pushed meinto, "Why don't you audition?
Try, it might be fun, join thechoir!" And it was at that
moment, I was like, "Okay, I'lltry it. I'm not social. I'm not
very enthusiastic to be atheatre person." And I did it,

(13:31):
and I met some of the bestpeople in my life.

Yeah.

And that really pushed me forward.

That tends to happen when you're an introvert
in theatre. Like all theextroverts are like, "Hello!
We're going to--"

Yeah.

"--we're going to cocoon you in our
extrovertness. And you're goingto feel safe, but you're also
gonna feel scared at the sametime."

It's very terrifying, but--

Yeah.

Alondra Santos-Castil (14:01):
--they're the most, the nicest people
like, you know, you go aroundand... Sometimes this specific,
like not saying this is like thestereotypical but, in art class
sometimes, you know, there aresome of the people that are
very, like, "I'm snobby. I'm thebest art person ever." But
whereas in theatre, I feel likeit's very more inclusive. People

(14:21):
are very welcoming.

Yeah.

Very loving. "Let me give you a hug.
You're the best. You're doinggreat. Kick butt out there."

Yeah. And also, theatre is like a collaborative
effort. So it's just easier tocollaborate when you like the
people you're working with,which, you know, 9 times out of
10. That is the case. But it'sgreat. It's great. So can you
tell us a bit of like, how youum... Because you're working
mainly as a scenic designerright now, correct?

Yeah, right now I'm focusing on scenic
design, but I do also, I'vedelved into stage management
that also my second prioritythat I focus on. But I also have
sound designed before. Because Iactually, when I went to college
I wanted to be a game designer,due to the art, but then I

(15:14):
switched my major into music. SoI had a strong background on the
music element once I got intotheatre.

Yeah, can you tell us like that, the moment of
like, how you found theatre incollege?

So when I first went to college, I was
so confident. I was like, "Iwant to be a game designer, I
want to do the characterdesigns, I want to do all the
background art, everything." Butthen I took a class in college
and it was coding and Istruggled by the hair of teeth
and everything and it was sobad! And I barely passed. And

(15:53):
I'm, I've been a pretty much astraight-A student. So, me
struggling to get through aclass was devastating for me.
And I was like, "Nope, this isnot for me." So then I
considered what else I reallyliked to do. And back in high
school, I really enjoyed choralmusic, I got into the select
choir. So I really like singing,and I got into the music

(16:17):
department. I enjoyed that.
Aural Theory was really hard,like being able to listen to a
note and notate that was verytricky. I was good with the
theory. And I was able to atleast have a, an arrangement and
teach my choral class. So I wasable to do the conductor aspect
I wanted. But then across fromthe hall in my college was the

(16:40):
theatre department. And I heardall these students and they were
very, you know, loud and fun. Iwas like, "What's going on over
there?" And you know, I wasalways intrigued. And then one
of my requirement classes was atheatre class. And it was Intro
to Improv. And one of therequirements was to audition for
a show. And I was like, "I don'tknow what I'm doing. I don't

(17:04):
really feel comfortable doingthis." But it was part of the
grade, so of course, I'm like"Alright, I guess I'll do it."
And so I signed up, auditioned,there was a thing on the paper
where it was like, "Do you wantto be a part of backstage, or
help out with any other elementsof the show?" And I said, "Sure,

(17:24):
why not? What else do I have tolose?" And then I got called in
to help do the sound board. Andthen that really dragged me in
to theatre, hard.

Yeah, yeah.

And then I left the music department
and became a theatre bug. So.

Yeah, it's really interesting to hear your
story and the fact that youdidn't, like most theatre
people, you didn't start withthe acting part. You kind of
like... You auditioned, but youkind of went through like the
backdoor, you know?

Yeah. I think with that, when I got to
see, you know, the sound boardand how things operated. My
professor Timothy Gallagher, hereally was the best professor
I've ever had to this date. Andhe really showed like how, you

(18:15):
know, "This is how a sound boardworks" and all kinds of valid
information that can also stillbe applied to today. And he
taught us how to paint. Therewas a class where we got to
learn every aspect of theatre,and I was in my playground
there. I got to learn how tobuild stuff, paint things, all

(18:36):
kinds of new techniques forscenery, sound, he taught us
stage management, lights,everything! He made sure we got
into every little bit of it.

Right.

I was like, "This is where I'm at, not
on stage."

Yeah, yeah. Lin Manuel Miranda, one of his, some
of his advice for going totheatre school and being a
theatre artist is "Learn how todo everything, at least a little
bit." And I feel like yourprofessor subscribes to that
same ideology.

Oh yeah.

Which is a great ideology, because like
sometimes, when you'reself-producing something, you
have to be the director, theactor, the producer, the sound
designer, the lighting designer,the scenic designer, the
costumer, and the playwright! Soit's a really great skill to
know. And like, if you know allof these practical skills, you

(19:30):
aren't just confined to thetheatre world because I'm a
really big believer in like, youcan take any skill that you
learn in theatre and apply it tosomething else.

Absolutely.

Because it really is like a
jack-of-all-trades kind ofoccupation. Like, you know, I
was talking to a friendyesterday who was like, you
know, he has a degree in operaand he just finished his degree
in rhetoric and he has like awriting... I feel like the
rhetoric thing is a writing, itis a writing degree. And now

(20:02):
he's working for like a, like atechnical computer company. And
he's doing technical writing,because he has that writing
skill, even though it came fromlike, the artistic side, he can
now apply it to the technicalside. And I think it's really
great.

To go off of that too, with what
you're saying, you know, usingyour skills you learn from that,
that is so, so relevant to me,because, you know, when I went
to, when I transferred toWestchester University, I was
scared to learn how to docostume construction. But man, I
picked it up so quickly. And forme, since my arms are shorter

(20:42):
than usual, clothes never fit methat are long-sleeve like I
always have to get them altered.

Yeah.

And now that I've learned that skill set
of how to, how costumes arebuilt, how to construct that,
how to hem things, I can justalter my own clothes and not
have to waste so much moneygetting things changed.

Yeah!

I can do that myself now, because I
learned that skill. It's sorelevant to learn everything.

Yeah. And it's like, you're self-sufficient now
and it makes you feel goodbecause you're like, "Oh, I can
do this. I can, you know,provide a service for myself
that I need," and I don't haveto spend $15 a sleeve on, you
know, somebody else doing it,um... which--

Right.

--I think is a way too high rate. I don't know.
Anyway...

Alondra Santos-Castill (21:30):
*Laughs*

Anyway. What's been like your favorite
production to work on?

So when I think about this, I struggle
so hard to pinpoint oneproduction.

Yeah.

So I have two that are so tied
together. They would definitelyhave to be Seussical The Musical
and The Mystery of Edwin Drood.

Ooooh!

Very specific reasons why these are
my favorites. Seussical was thevery first musical that I ever
stage managed. I knew how tostage manage a play. But I'd
never done a musical, I'vewanted to and I was given the
opportunity to. But it wasterrifying. I was handed a

(22:18):
prompt book on the day of tech.
And they said, "Here. Call theshow." So I kind of just had to
just roll with it and call it asbest as I could. And I was like
nailing it, I was fixingproblems on the spot with the
lighting designer. She wastelling me that I was the best
stage manager that she's hadcome into that space.

That's nice.

And it was also such an adrenaline rush
because there was so many lightcues. And I don't think I had a
moment to breathe--

Yeah.

--for the show. It was so great and I
love, love that. And the reasonwhy The Mystery of Edwin Drood
is another one is it's the firstscript I've dealt with, that
really is audience-driven andespecially the endings of the
show will be different everynight. So the audience can

(23:10):
choose who is the murderer ofthe of the show

Spoiler alert!

--and you know, the cast will go
around... sorry, spoiler! I'msorry. They'll go around and you
know, get votes from theaudience. And every night it was
something new. Like there wasone rare night where there was
two, two gay lovers for once.
Usually it's a male and afemale, but they chose two of
the same and they even chose abrother and sister one night

Eeeew...

--it was so wild.

I've actually never seen Suessical or Edwin
Drood, and I don't know if thattakes away my "theatre card,"
but I'm definitely interested inEdwin Drood. I love it when
shows have different endings. Ikind of did that with my thesis.
Well, the idea in the beginningwas, so I had three nights, we

(24:09):
were doing the show for threenights. I was like, "Okay, so
every night is gonna have adifferent ending. It's gonna be
like Clue" because my thesis wasbasically Clue, but in like a
play. Um, but, I love differentendings. And I love that
audiences... I love shows thathave audience participation. I
don't like to be a part of thataudience participation.

*Laughs*

Like, if I get called up on stage, I will have
a panic attack and I'll be like,"Please. No!" But like, if I get
to vote on the ending, I feellike I have some semblance of
control. And I'm like, "Ooh,this is fun!"

Yeah.

Like and also it's always fun to see like what
the actors do with theinformation that the audience
gives them. And I think that'sreally fun.

Yeah.

So. Alondra, how does the intersection of
being a Black, Latina disabledwoman affect your work?

I personally always worry with
this, that I'll end up beinghired, just because some of
Black Latina, instead of mytalent. Like I know theaters are
trying to become a lot moreinclusive and make sure that
there's a lot more Blackrepresentation on their staff
and in their theater. But, Idon't want to be hired just

(25:29):
because of my skin color--

Yeah.

--instead of the talent that I'm
presenting. And it's like, weknow the skill sets that we
have. And I don't want to justbe hired for something because
I'm a certain shade, and theywant to make sure they have that
in their department. Like I wantto say, "Hey, I have the talent.
I'm really good. And you, youknow, you need to hire me,"

(25:54):
because I qualify for this, notbecause you want to make sure
your theater looks good. Notsaying that's what all theaters
are doing, but to like some ofus like, that's how it kind of
comes across as?

Yeah, yeah.

Like "only looking for this type of
people." Like--

Yeah.

--I don't want that. Just say you're
looking for this position andlet people apply. And if that
satisfies, then great.

Yeah, like ticking a box, like a diversity
box, of like, "Look at this!"Like you don't, you don't want
to be a token. You don't want tobe a token.

Yeah, I don't want to be a token. And
it's like, if someone elsequalifies better, you should
hire them. Like, I know a lot ofpeople want that representation.
But it's like, I think it'sbetter to have someone that's
really good at the job, thensomeone that looks like they
could be great for the job. Ifeel like there's a very,

(26:49):
difference with that.

Yeah.

And that's just how I view that. I
very much value my skill set inthe fields that I'm proficient
in.

So Alondra, now that theatre is, quote-unquote
"coming back," can we talk aboutlike accommodations in the
workplace?

Yes.

What are the accommodations that you need to
be successful in your job, andhow does your workplace
accommodate you, for lack of abetter term.

So when it comes to me, the
accommodations I usually need isanything involving things that
are too high for me to reach.
For example, with scenically if,you know, the set design is put
together I wouldn't be able toreach you know, get up on a
ladder and reach for that. So,accommodations I usually talk

(27:42):
through with my technicaldirectors, is let me know when
certain scenic elements aredone, and if they can be placed
on the ground, so I can quicklypaint them and then you can
assemble. So I have to reallyplan in advance for these kind
of accommodations and be on topof my game in order to make sure

(28:03):
that stuff gets done. So that'sone of the biggest
accommodations that I needthere. When it comes to stage
management, what's nice is Iusually have an assistant stage
manager, so they'll be able tohelp me out wherever I need to.
But that doesn't, that one Idon't need as much

(28:25):
accommodations, it's mainlyscenic, scenic-wise, that I
need. And that's the mainaccommodation that I need for
that.

Yeah. Can I ask, and I don't know if this is
a rude question but like, how doyou paint the set designs? Do
you get out of your chair? Areyou, you know, what happens?

So for me, I'm not bound to a
wheelchair, so I'm able--

Oooh.

--to walk around and such. Yeah,
usually with arthrogryposis,some cases are actually a lot
worse. I have a mild case of it.
So I can still walk. I can't dolong distances. So if it's a
long distance, I'll take mywheelchair.

Right.

But if it's just short distances, or
I'm painting or working, Iusually don't bring it.

Yeah.

So when it comes to painting, fun fact
if you're ever doing scenicpainting, get one of those seat
cushions that are for longsitting. And that may help
alleviate some of sitting on theground for long periods of time.

Right.

I found that that really helps. And what
I'll actually do is most of thetime, they're four by six flats
that I'm painting. I'll sitaround the edge of the frame
where I know there's structureto hold my weight. And I'll sit
there and then I'll reach to thecenter as much as I can, paint,
do all the edges and stuff anddo it that way.

Right.

So that's the best way. Another way
that a professor showed me ifyou have trouble reaching when
it comes to painting, you cantake gaff tape with a paintbrush
and attach it to one of theroller sticks. So that way you
can further reach with that. Idon't enjoy that as much,
because it requires a lot ofcontrol, and I feel like with my

(30:19):
back that'll start hurting. So Iusually am just sitting on the
floor a lot of the time.

Yes. And then when, so when you have to paint
the center, do you wait for theedges to dry?

Yeah.

Okay.

Yeah, it depends on how detailed
things are. If there's moredetail in the center, I'll try
and work center and work my wayout. So that way, it's easier as
I reached the end, as I get morefatigued. It just depends on the
work. But sometimes I'll startwith the edges and work to the
center. But yeah, I'll usuallywait for it to dry and continue.

Can I just say that's brilliant. #lifehacks.

*Laughs*

Like, oh my gosh.

Trying to pass along some of the hacks.

Wow. Yeah. So, in terms of accommodations and
finding out what you need andgetting into space, and you're
like, "Oh, I need this, this,and this," is it hard for you to
ask for accommodations? Has itbecome easier, the more you've
been in the field?

So it's definitely hard to ask for
accommodations. Because you... Ifeel like in my stance, I don't
like to be a bother to anyone.

Right.

So I don't want to, you know, mess up
their workflow by things that Ineed. So I'm always like
self-conscious about that. And Ihave, definitely, a hard time
confronting people about things,so it's very hard to ask. But I
kind of just have to shrug itoff and just say it.

Yeah.

But it definitely does become easier,
the more you keep doing it. Ifeel like as long as I'm able to
build that connection withpeople that like for, you know,
in my case, the technicaldirector, the main people that
are going to be building things,as long as I make that
connection early on with them,the asking portion of what I

(32:12):
need becomes a lot easier.

Right.

But even then that's hard to make
that connection because I'm anintrovert, and I like to keep to
myself.

Yeah.

So it's, it's a, it's a big
internal battle that I have togo through a lot.

I mean, it's a big internal battle that I feel
like a lot of disabled people,like not discrediting what
you're feeling, but I do feellike that's a, that's a
universal experience with thedisabled community. Because, you
know, some of us are introvertsor ambiverts, or like, even some
of us are extroverts. But it'sstill really hard to like,

(32:49):
gather up the courage andadvocate for yourself. I mean,
not to bring up Crip Camp again.
I'm gonna bring up Crip Camp alot on this podcast.

*Laughs*

Just FYI. It's fabulous. Alondra, have you seen
Crip Camp?

I have not.

It's so good.
It's on Netflix. Watch it, andthen we can text about it.
That's your homework for thisweek.

Hahaha! All right, will do.

I am... I am, I'm constantly telling people
about this movie. I think theyneed to give me like a salary or
something. I feel like I'm theone woman like advertisement for
this movie. Anyway, there's thispart that's really early on in
the documentary where JimmyLebrecht, who is actually a
theatre person himself, he doessound design, he talks about the

(33:37):
way like growing up, his fathersaid, "Jimmy, you're gonna have
to be extroverted, and you'regonna have to introduce yourself
and you're gonna have to befriendly. Otherwise, people
will not know how to interactwith you. So you are gonna have
to take the first step." And Ifeel like that's a lot of, a lot
of disabled people... maybe notall of us, but a lot of us are

(34:00):
like, "I don't want to, becauseI, I do not feel comfortable."
But we kind of have to pushourselves out of the comfort
zone to, to advocate forourselves and to make friends.
So.

Absolutely.

I make friends solely on the fact that I am a
handicap placard and I get greatparking. So.

Yes! That's the best benefit. Haha!

It really is.
I'm like, that's the wholereason I have a social life is
because people want greatparking, and I'm like, "I
already have that. But it comeswith me!" I totally understand
that, it's really hard toadvocate for yourself, but like
we have to, or we're just notgonna get anywhere.

Yeah.
We're not gonna get far if wedon't--

Yeah.

--give ourselves the way that we know
we can succeed.

Yeah, yeah.

Because we all can succeed. We just have
to make sure we can push forthat.

Yeah. And sometimes it's really hard to
push for that. Sometimes it'slike, "Why do I have to push?
Why don't people just know notto be, you know, like, dummies?
And just--

*Laughs*

"--be like, 'Oh, this person is obviously
not going to subscribe to thetypical way of doing things. So
we have to figure out a way thatthey can be comfortable with
that.'" Like, sometimes I don'twant to advocate for myself,
sometimes I just want people tobe mind-readers. And then I'm

(35:36):
like, "Then, no, that's not fairto them!" And like, it's also
that point of like, I don'talways want to be an educator
about what I need.

Right.
Based off of, you know, whatyou're saying with being a
mind-reader. I think, you know,when people do try to mind-read,
you know, what we need or whatthey think we need, it's not
always the best thing.

Mm-hm.

And it ends up making it a lot more
difficult.

Yeah.

At least in my case, when they try
and help, or they think they'rebeing helpful, they're making it
worse.

Yeah.

So like, sometimes, you know, my
mom will get something, andmaybe she'll put it up high and
like in thinking, "Oh, this willbe easy for you to get or
whatever, maybe this littlegadget might help you." And it's
like, "No, I was perfectly finewith the way it was, I could
have handled that. This isadding 10 more steps to what I

(36:32):
need to do, which takes onestep."

Right.

Um, and then you know, that's another
case where it's like, you know,I'd rather just tell someone,
"Hey, I need theseaccommodations. This is all I
need. You don't have toaccommodate me for anything
else." Because then I feel likethat also alleviates the problem
of them trying to proactivelyaccommodate you--

Yeah.

--and it just end up making our lives
a lot worse.

Yeah.

And then, it's the back and forth.

Yeah. And it's always harder, it's always
harder when they like, they doit from a place of good
intentions.

Yeah.

And I think that's really hard, with the
disabled community. Like, no, Iam, I'm perfectly okay with
advocating for myself andsaying, like, "This is what I
need. This is how you can do it.
This is it. Like, that's all."But sometimes I'm like,
sometimes I don't want to say...
but like, I'm perfectly okaywith doing it. I just like to, I

(37:28):
just like to um, "bitch," as mymother would put it.

*Laughs*

But when it comes from, like a place of
good, like, good intentions,it's always like "I know you
meant well, but like, this isactually like, hindering and not
helping" and then like the faceof complete, you know... I don't
know, I... like somebody triedto help me a couple years ago,
and I was like, "Actually, thiswasn't very helpful." And they

(37:54):
just like, looked heartbroken,like I just kicked a puppy and
I'm like, "Dude, it's fine. Weall make mistakes." Like, I'm...
I think I was the first disabledperson he had met, because he
was from like, a small town inTexas. And I was like, "Okay, I
guess I'm the prototype. Goodfor me."

*Laughs*

But um, yeah.
Sometimes it's good. Sometimesit's bad, most of the time it's
not great.

Yeah, I definitely can agree.

Yeah. So in terms of people accommodating
you, what are some things thatyou wish people knew, when they
first start working with you?

Um, some things I wish people would
know... when they first startworking with me is that I'm very
determined with my work. I willspend hours trying to do
something and perfect it,because I want it to be the best
that I know it can be. So Idon't try and short-change

(38:55):
myself on anything. But I tryand give my absolute best work
possible, like everything I takeon, or that I sign a contract
to, I'm going to give you myfull 1,000% along the whole way.

Yeah.

And then another thing also is, you
know, if you treat me withrespect, I'm giving you that
same respect back. And even ifthey give me you know, negative
or they're being nasty, I'm notgoing to give you the same
attitude back. I'm going tostill respect you. So that would
be the biggest things, and I'mdefinitely a perfectionist

(39:31):
1,000%. I will spend hoursfixing the tiniest details that
probably no one will ever lookat.

Right.

But I'll know it's there. And it's
right.

Yeah, that's good. That's like, that's like
good for your... your soul. It'slike, "I know it's right. It's
right. It's good. And likenobody else needs appreciate it,
but I know in my heart of heartsthat it's everything that I put
in." And like, the fact thatlike you have a disability, yes,
and it does define a part ofyou, yes. And, maybe I'm putting

(40:04):
words in your mouth and stop meif I am...

No, you're great.

It's like not your entire life. Like it's a
major part of your life, butit's not your entire life.

Mm-hm.

Yeah.

Absolutely.

Yeah. And what do you think you wish people
knew about disabilities?

I would say the biggest thing is, you
know, things may look or soundbad. You know, when they look at
us, or you know, they hear aboutthe stuff that we deal with. But
we've dealt with these, youknow, disabilities for so long
in our lives, or you know maybesome of the new disabilities are

(40:45):
new for some people dealing withit. But certain things may be
difficult, but we are way morestronger than people think of
us.

Yes. Yeah.

Because we have to deal with so much.
And I think we have thatstrength, that not a lot of
people have in them.

I like to say that I survive on stubbornness
and spite.

Yeah.

And pure 100% "Fuck you." So...

*Laughs*

I'm a little edgy with it. I'm a little edgy,
because I'm like... it sucks tobe like, it doesn't suck to be
disabled, it sucks to bedisabled in the world that we
live in, in this society that welive in, because it's... well, I
don't think about it constantly,but when it comes up, it like
really comes up. Like, I start--

Right.

--thinking about like, "Why are we, why are
we living in a world withstairs? If not everyone can use
stairs?" Like

Yeah.

--I know some stairs are gorgeous... but we
have elevators now! I feel likeevery, every building, no matter
how old it is, needs a fuckingelevator. Um.

Absolutely.

I don't know.
Maybe that's me being a bit toobroad, but like, I don't know.
I've always wanted to go toEurope, but also at the same
time I'm like, I do not want togo to Europe, their buildings
are like 1000 years old! Andthey haven't been updated since
the 1500s. There's no way!

Right.

In the 1500s, if you were disabled, you would
die! Like immediately.

Right.

And now that's not the case anymore. Because
disabilities aren't like, beingdisabled is not a death
sentence. So yeah, I don't know.
That was my rant about Europe.
Suck it, Europe...

*Laughs*

Alondra, in terms of accommodations, what is
like your dream... your dreamaccommodations? Like, do you
want to always have like a, doyou want a portable elevator
with you? Do you want like amuscle-y man to carry you from
place to place? Do you want aservice dog?

*Laughs*

Like, what is your dream... what is your
dream? Um, personally, I wouldgo with a muscle-y man. If it
was me...

*Laughs*

I'm waiting, I'm waiting for a 250-pound man,
named Klaus. He's Scandinavian.
He's very good looking. He justlifts me up, and like, carries
me to places, and I never haveto worry about a goddamn thing
again.

*Laughs*

That is my goal. What is your goal,
Alondra?

Oh my gosh, I love that. That's a
great goal! We're gonna make

Thank you!

--sure you get there, we got you.

Thank you!

But, haha... But um, actually, my
dream goal would really be tohave a service dog.

Mm-hm.

Because I was actually looking at the
different types of service dogs,like, you know, they... they
certify for so many differentthings, but the one that I would
really use is one for mobility.
So usually with my disability, Iusually have someone with me,
usually you know, when they dropme off at the theater or
wherever. Just in case like youknow, I'm walking and I trip and

(43:52):
fall like... if I'm down on theground, that's it. Like I don't
have the--

Yeah.

--muscles to get myself back up.

Game over.

So yeah, it's game over! Lives have
been lost, we are at zerohealth, no more.

Hah, no more HP?

No more HP! Hahaha!

Yeah.

Um, and also, another thing with the
service dogs that would reallyhelp me out is specifically with
picking things up. Like they'retrained to do... pick things up,
bring them to you. Andespecially with mobility issues,
and sometimes having a hard timegrabbing things and picking them
up, that would really help meout a lot in day-to-day

(44:33):
activities and even in thetheater space. And especially,
another thought that came tomind, with them helping me get
up off the ground, that would behuge with scenic painting.
Because a lot of the time I'm onthe ground and I usually have to
have a chair near me at alltimes. If not, I have to scooch
to it, get up and that wouldreally be a great accommodation

(44:58):
that would be following mearound everwhere.

Right.

But having a service dog would
really help... help me in thatindependence, being able to go
out and not have to worry aboutany, like safety problems. They,
you know, they spend so manyyears training for this, that,
that's you know, that's why weget them. That's why they cost

(45:22):
so much money.

They do cost a lot of money.

Like they are a lot of money to get.

Yeah.

I forget how much. I think last
time I looked, I think it was20,000 or so?

Yeah... that sounds about right.

I don't really remember... But it was
really up there. And that'sactually why I started my own
small business, is to startraising funds to try and get a
service dog, because I reallywould love that, that would put
me at ease. And I also feel likeit would put my family at ease,
knowing that I have someone, youknow, to protect me.

Yeah.

So with my Etsy store, I really do
illustrations, I do a lot ofart, I incorporate all my art
that I've learned over the yearsand put that into this business.
We've also tried delving intosoap, soap has been a good one.
But it's still it's kind of hardto really, you know, get a

(46:22):
business off the ground.

Right.

It takes a lot of work. We're still
trying to figure it out, maybemake some name changes or split
it, make art its own thing andthen make soap something else.

Yeah.

Um, so it's a lot of still figuring
out.

Still figuring out. Still like feeling out the,
you know, the marketplace andlike, yeah. What is--

Yeah.

What's the name of your Etsy store?

So my Etsy store currently right now
is called Mama Ducky'sEssentials. And we've been
talking and thinking to changethe name or such.

Mm-hm.

So it's a work in progress right now.
But I think once we make thechange, it may benefit it.
Because right now it's kind ofI'm doing everything... I do so
many different arts and crafts,and my business kind of holds
the little basket of everythingthat I do.

Yeah, yeah.
Well, honestly, it sounds like agreat idea. And if you have a
goal for your, your serviceanimal, it's... it's a lot
easier when you have a goal.

Yeah.

Versus like, when you don't really know what
the end point is.

Absolutely.

Which, you know, I feel like that's a
great... people are like "It'snot about the destination. It's
about the journey." And I'mlike, "But the journey is so
much easier when you have adestination in mind."

Yeah.

Like the journey is like the most
important part, obviously,because you go and you change,
and you figure shit out.

Yeah.

I think, you know, whoever put us on this
earth is like, "This is anexperiment to see if humans can
figure things out. And if theycan't..."

*Laughs*

"...well, it's gonna be fun to watch." Um...

*Laughs*

But yeah, yeah, on that note... Alondra, we're
gonna have a link to your Etsyshop in the description, but is
there anywhere else that thepeople can find you?

Absolutely.
You guys can also reach out tome on Instagram at my handle
@mamaduckysessentials. And thenalso, if you're also a disabled
theatre artist, by all means,reach out to me on Facebook,
like I'd love to chat, get toknow you more, and then I can
also give any advice that I haveor that I've experienced working
in theatre.

That's great.
That's fantastic. Alondra, thankyou so much for being on the
show. This has been fantastic.
Thank you so much for talking tous about accommodations, and
Mario, and Klaus... Which I'm soglad that I got that information
out.

*Laughs*

If anybody wants to audition for my
man-meat Klaus, uh, hit... hitup, um... hit up me on
Instagram. Hit me up onInstagram.

*Laughs*

That's what I meant to say! Goddammit! How do
I say goodbye, Scott?!

*Laughs*

So sorry. This is my fault.

I think you, you had it.

Okay.

Scott MacDonald (49:17):
It was going good, and then you were like,
"Oh, Klaus, mi amor..."

*Laughs*

*Laughs*

Scott MacDonald (49:25):
...got a little off-track with that one.

Alondra, thank you so much for being on the
episode today. I really lovedit. I think it was a lot of
great conversations. And umyeah, this was fantastic. Thank
you so much.

Thank you so much for having me. I
really appreciated being onhere. And I hope that what I've
shared with you can be used andvalued by someone else.

Yeah. That's all we can hope for.

*Laughs*

Thank you for listening to this episode of
Break a Leg! And thank you toour guest, Alondra, for joining
us today.
Follow us on Instagram andTwitter @breakalegpod, that's
break a leg, P-O-D. Let us knowwhat you thought of the episode
or tell us who you think weshould have on next. For a full
transcript of each episode, usethe link in the episode

(50:11):
description. The easiest way tosupport this show is by leaving
us a review on Apple Podcasts.
And make sure to click thatSubscribe button! Break A Leg!
is produced by Scott MacDonald,and our cover art was created by
Sasha and Alexander Schwartz.
I'm Nicole Zimmerer and I willsee you next time.

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Theatre Workplace Accommodations with Alondra Santos-Castillo

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