Award-winning composer Jacob Yandura is proudly from Columbus. He grew up here and attended Kenyon College before moving to New York to write music for Broadway musicals. His 2023 musical How to Dance in Ohio is a charming emotional portrait of seven autistic characters played by seven autistic actors. And it's set right here in Yandura's hometown of Columbus, Ohio.
The show is based on the 2015 documentary film of the same name by director Alexandra Shiva. The movie follows autistic young adults through their experiences preparing for a formal dance here in Columbus. It captures the sort of endearing honesty among its autistic cast that takes you by surprise and captivates you in its final minutes. The same can be said of Yandura's score to the How to Dance in Ohio musical.
It may not be the most adventurous score on Broadway in recent years, but that's what makes it so loveable. It's a unique take on the sort of classic school-age musical, and Yandura's heartwarmingly nostalgic music guides you through the story gently, like a good dance partner.
In a recent video call, Yandura spoke about creating a safe, uplifting space for the neurodivergent members of the How to Dance in Ohio cast and crew. The production's dedication to the autistic community led to a recent Drama Desk Special Award in April of 2024. Autism is also close to home for Yandura as his sister was diagnosed with autism shortly before he started work on How to Dance in Ohio.
He and his sister have gotten to know the real people featured in the How to Dance in Ohio film and others in the Columbus autistic community. The stars of the documentary even traveled out to New York for the musical's opening night on Broadway. As Yandura said, "This whole connection has just started a beautiful family relationship."
As a gay man, Yandura treats the LGBTQ+ community like his family, too. At the beginning of this month, he was back here in Columbus to receive a Visibility Award from the Human Rights Campaign as part of their efforts with the LGBTQ+ community. In his acceptance speech, he described Miguel Perez as "a true father-figure" not only because of his mentorship in the arts but also because of the example that Perez and his husband have set for a healthy relationship.
Dr. Emilio Amigo, the therapist featured in How to Dance in Ohio is also a proud member of Columbus's gay community, and he saw the musical thirteen times before its Broadway run ended in February of this year. If he wants to see it again, he'll have to head to the United Kingdom, though. The musical will be making its British debut in 2025 with a new cast.
How to Dance in Ohio is a truly portrait of Yandura's home state of Ohio. It's simultaneously a representation of the unique aspects of autism and the universal challenges of growing up. As Yandura said, it's not so much about the dance as it is about getting to the dance. In that sense, Yandura's music for How to Dance in Ohio is about seven autistic kids trying to become adults in Columbus, Ohio. But it's also about the journeys we all share and the love we find along the way.
Interview Transcript:
Nicholas Booker: I'm Nick Booker from classical 101, at WOSU public media. I'm here in the WOSU studios on a video call with Jacob Yandura, who composed the music for the Broadway musical How to Dance in Ohio. It's based on the documentary film of the same name that was filmed right here in Columbus, Ohio. The musical stars seven autistic actors and follows a group of young adults and their families navigating change and preparing for a spring formal dance. And Jacob grew up in Columbus as well and attended Kenyon College here in Ohio before starting a truly remarkable career as a composer. So Jacob, I was reading a New York Times review of the musical that said there's a lot to admire about your score, and I can't help but agree. It's really charming music, and I'm just so thrilled to be speaking with you today. So, thanks for joining me.
Jacob Yandura: Oh, thank you so much. I'm so thrilled to be here with you and chat all things.
NB: Yeah, thanks! Since you grew up in Columbus, I would imagine you have a really special connection to the city. What was it like working on a musical that's set here in your hometown?
JY: I mean, I feel like this piece called to me because I'm such a proud Ohioan, and I had so many amazing mentors growing up in Columbus. And when I saw the title How to Dance in Ohio, I went, "I'm from Ohio. What is this?" And then when I saw it was from Columbus, that was even, you know, perked my ears even more. And then, what was so cool is my sister was diagnosed with autism like six months prior to me seeing the film. So, it just was like the perfect sort of kismet thing for me to see, but just to work on a show that honors community and honors home was such a fun thing to work on.
(Clip from "Building Momentum" from How to Dance in Ohio)
NB: And you mentioned your sister was part of your inspiration. I mean, what were those conversations like with your sister? And I'm assuming she's seen the musical. How did she like it?
JY: Oh my gosh, she's been a part of every step of the way. And, she was diagnosed very late in life, which is very typical for young women. And she was diagnosed at 19 years old. And so, she was given wrong diagnosis after wrong diagnosis, many, many, many years. And so when we finally got this diagnosis, she was like, "Well, this all makes sense. So here we go." So she was so, so thrilled. And when I told her about the film, we of course watched it all together. I actually saw it like two weeks before I was making a trip home for a visit. And, it just made sense. And the film made sense because it's all about the how tos of life, you know, learning how to transition into adulthood, learning how to be independent, learning about human connection, and I think that's such a universal thing that we can all see ourselves in.
(Clip from "The How-Tos" from How to Dance in Ohio)
NB: And I do, I want to talk more about the music, but can you tell us a little bit about your experience at Kenyon College first? I mean, you went to university here in Ohio as well. How did that prepare you for becoming a composer for a hit Broadway musical?
JY: I mean, so many things. I always knew I wanted to write for theater. And, like I said before, I was really grateful to have so many mentors in my life. And one of them, Mel Marvin—he wrote How the Grinch Stole Christmas, and he actually taught at NYU where I went to grad school—but he said, "Jacob, find a good liberal arts school where you can study composition. But study theater. Study so much more than just how to write a good tune and chord symbols. And if you want to write theater, you have so much to learn about. And, study sociology, study politics..." And so that was the best advice. And so I was looking for liberal arts schools. But I was 16, 17, I was like, "I still want to be in New York," and I hadn't even heard of Kenyon at that point. And then someone said, "You should look at Kenyon." And my mom and I made a trip, and I ended up applying early decision. I just fell in love with it—fell in love with the community there... it just, it felt creative, you know? And it was the best decision I had ever made.
NB: Yeah, and it sounds like you had a really sort of broad experience in terms of the skills that you developed, which I think, it really comes out in the musical how well your music resonates with the story that the characters are living through. And so I wanted to ask about, you know, at the culminating musical moment in that opening number, the whole company is singing together when one of the main characters interjects and asks to take a break for a moment because there's so much going on. And I think it's just this beautiful representation of what I can only imagine was a very real challenge in the compositional process on the musical, you know, to make it not only meaningful as a representation of the autistic characters but also something that's accessible for autistic listeners and an autistic cast. How did you navigate those challenges as a composer and find opportunities?
JY: Yeah, that's a great question, and I'm so glad you brought up the opening number because that was our first assignment, and it was our way into figuring out the tone of the show. And we were lucky enough to work with Hal Prince for two years on the piece. He was our original director, and in fact, we got our last round of notes two days before he passed away. And so we've really used his direction as a true north, but also, and we say this in the opening scene—prologue, if you've met one autistic person, you've only met one autistic person. And so my sort of goal with the music was—each character, you meet seven autistic people, they all have their own themes, and so they all have their own experiences in life. And that was really important for me to write a theme for Drew, write a theme for Marideth, write a theme for Remy, right? And these are all introduced in the opening number, and they expand and grow throughout the show. And so, and utilizing counterpoint, utilizing all of the cacophony of showing that these themes—we're all living life together at the same time, but we're all seeing it or hearing it in a different way.
(Clip from "Today Is (Part 1)" from How to Dance in Ohio)
JB: It was tricky because it's an ensemble piece, and the show is so much about the small successes. And, even though it's called How to Dance in Ohio, it's a metaphor for life. You know, it's not just about the dance. It's about getting to the dance. And so the songs really operate as psychology, and like "Unlikely Animals," "Drift," you know, all these songs that are... they're singing things that they don't necessarily know how to communicate yet. And it all leads up to that tension and that last moment of Drew and Marideth dancing together, and so we want to keep that tension going. But you're at a dance too, and so you want to sort of embody this diegetic music as well. So that was really tricky—of finding that.
(Clip from "Drift" from How to Dance in Ohio)
NB: Yeah, but it seems like a really beautiful process that you had sort of collaboratively with the cast and this whole writing crew and an ASD consultant and all of these people on the team that it sounds like led to your 2024 Drama Desk Special Award for an Authentic Autistic Representation Team, right? I wonder if you could tell us about that.
JY: Yeah, so I mean the Drama Desk, I'm so glad they acknowledged our whole team and sort of the casting process and leading authentically and casting authentically. But I think it proves that it's much larger than just casting. We made sure that we had autistic artists and people in every part of the team: my assistant music director, Nicole D'Angelo, who was also one of the script consultants, is autistic. You know, the costuming team had their own autistic people working, the set, lighting, off stage crew... And so it just meant so much to... and I think to the audiences, they could tell that this wasn't just, "here's one thing: we're going to cast authentically, and that's it," but to really embody and hold the mission of what we've been fighting for close to our hearts and to prove that we can do it. And so, it's a huge honor. And so, we're so thrilled to to accept that and hopefully show that—do it more! Like, this is just the first time, and it can be done.
NB: Yeah, and you're headed to the UK in 2025 right? Do you have any more information about that? Or, I know the venue hadn't been announced last time I checked.
JY: Yeah, so they're still putting... getting that all together. So hopefully there'll be something to announce soon, but it's just, it's thrilling. And it'll be all new cast from the UK, which will be super exciting. And I can't wait to to get over there and meet new people, and bring new faces to the show. And so, yeah, they'll be announcing more stuff very soon, but I just love it over there so much.
NB: Yeah, me too. I'm often in the UK, and it's, yeah. It's a wonderful place, yeah.
JY: It really is.
NB: But speaking of travel, so you were just in Columbus receiving an award, was that right?
JY: I was, I was! I was given the 2024, Human Rights Campaign Visibility Award, which was so thrilling. And just to accept the award, I mean, I'm sure my work had something to do with it, but just, being an out and proud gay man, accepting that on the first day of Pride with my mom and my partner was just absolutely thrilling. And, talking about visibility, and just, leading by example, which was such a beautiful honor. And so we had so much fun. And, yeah, danced the night away.
(Clip from "So Much in Common" from How to Dance in Ohio)
NB: Jacob, I hope you continue to see great success with How to Dance in Ohio, and I'll look forward to seeing more of your wonderful music in the future. For those of you at home, you can find the original cast recording of How to Dance in Ohio on streaming sources or stop by a performance in the UK in 2025! Jacob, thanks so much for talking with me today. It's been a real pleasure and an honor.
