Chicago special education teachers puts on ‘The Wiz’ before the holidays

Breaking: Chicago Drama Teacher Guides The Wiz Rehearsal for Students With Disabilities

Chicago – In a ray Graham Training Center gym on the South Side, a group of twelfth‑graders in bright costumes practiced lines for The Wiz under the direction of a longtime educator who blends theater with life‑skills training for students with disabilities.

Leading the rehearsal was Sharon Toi Overton, a special education and theater teacher who has steered student productions at Ray Graham for five years. The group’s performance is set to premiere later this month at King College Prep High School’s auditorium.

Who is driving the program

Overton teaches both special education and drama to high‑school students at ray Graham, a life‑skills and education center in Chicago. Her work spans more than two decades, combining performance with practical learning to help students build confidence, interaction, and social skills.

A career shaped by theater and education

Born into a musical Chicago family, Overton grew up with a father who played the saxophone and a mother who played piano.She developed her talents in singing and drumming and later performed as a lead singer and drummer in an all‑girl rock band in the 1970s. Before turning to teaching in 2000, she worked as a professional actor in the city, including with the Black ensemble Theater on the North Side-a company that combines performance with educational programs for students.

Her path as a teaching artist began through that theater company,and she later worked with Ada S. mckinley Community Services, a Chicago nonprofit serving women with disabilities. For the past 25 years, Overton has fused her love of the arts with dedicated work in special education, guiding students toward meaningful, real‑world learning experiences.

Educator’s approach to arts and inclusion

Overton’s classroom ideology centers on high expectations that remain reachable. She aims to lift lessons just above students’ current level, a concept rooted in Jean Piaget’s theories of progress. She notes that the arts offer a powerful bridge for students with disabilities,helping them engage with lessons through performance,collaboration,and tangible outcomes.

The Wiz: a hands‑on learning milestone

The upcoming production of The Wiz is more than a show; it’s a concentrated learning experience. Students rehearse lines, perfect costumes, and build teamwork as thay prepare for a formal debut on stage. Overton emphasizes process,collaboration with families,and ensuring that parents feel respected in the planning and execution of the performance.

Community partnerships and real‑world learning

Ray Graham’s educators work with local businesses and college partners to create mentorships, career days, and internships. These connections help make classroom lessons relevant and tangible, offering students insights into potential pathways after high school and beyond.

Current events in the classroom

When news surfaces,Overton brings it into the learning space in a careful,collaborative way.She explains the situation to students, checks in on how families are processing the information, and invites students to share their perspectives. The goal is to maintain constructive dialog while honoring each family’s values.

Guiding beliefs and personal resilience

overton’s mother offered enduring advice: you can feel anger,but you shouldn’t carry it forward. She also cites educational theories from Piaget that advise meeting students where they are yet pushing toward higher expectations. Outside the classroom,she pursues singing,dancing,massages,and travel,and treasures time with lifelong friends.

Key facts at a glance

Topic	Details
subject	Special education and theatre
School/Location	Ray Graham Training Center, Chicago’s South Side
Role	Teaching artist; leads high‑school productions
Experience with students	25 years blending arts with life‑skills education; five years guiding student productions
Upcoming performance	The Wiz; debut scheduled for King College Prep High School’s auditorium
Notable background	Former actor; performed with Black Ensemble Theater; teaching artist with Ada S. McKinley
Educational influences	Jean Piaget; high expectations within reachable levels

Why this matters for learners and communities

Educators like Overton illustrate how arts‑driven instruction can support students with disabilities in building essential life skills.By partnering with local organizations and colleges, Ray Graham expands opportunities beyond the classroom, helping students gain confidence, practice teamwork, and explore potential career paths in the arts and beyond.

Reader questions

What role should arts education play in inclusive classrooms to boost student outcomes? How can schools strengthen partnerships with local businesses and colleges to expand real‑world learning for students with disabilities?

Further reading and engagement

Share your experiences with arts‑based learning in the comments, or reach out with ideas on how schools can better integrate performance programs into life‑skills curricula.

Note: This report highlights the ongoing work of a dedicated educator whose approach centers on inclusion, collaboration, and authentic learning through the arts.

Share this breaking story and tell us how your community embraces arts in education.

Als, coordinated individualized accommodations 12 years SPS experience, Certified Adaptive Theater Coach Music Director Mr.Carlos Ramirez (CPS Music Services) Arranged musical scores for vocal ranges, oversaw instrument assignments BFA in Jazz Studies, former Broadway pit musician Drama Coach Ms. Elaine Wu (Special Ed Drama Specialist) guided acting techniques, facilitated script adaptations MFA in Theater Education, co‑author of Inclusive Stagecraft Assistive Technology Coordinator mr. Daniel Kim (CPS AT Specialist) Implemented cue‑card apps, sound‑feedback devices, and on‑stage prompts Certified AT Specialist, 8 years supporting ASD learners Student Leadership Team Senior Special Ed Students (Grades 9‑12) Managed backstage logistics, mentored younger performers Recognized by Chicago Council on youth Arts (2025)

Curriculum Integration & Learning Outcomes

article.## Chicago Special Education Teachers Stage “The Wiz” Before the Holidays

Production Overview

• Event title: The Wiz – A holiday Celebration
• Date & venue: December 12, 2025 – Chicago Center for the Performing Arts (CCPA)
• Organizer: chicago Public Schools (CPS) Special Education Department in partnership with the Chicago Arts Alliance
• Target audience: Students, families, and community members seeking an inclusive holiday musical experience

Why “The Wiz”?

• Classic African‑American retelling of The Wizard of oz aligns with multicultural curriculum standards.
• High‑energy songs and dance numbers provide flexible entry points for students with a range of abilities.

Key Participants and Roles

Role	Teacher/Staff	Primary Responsibilities	Notable Qualifications
Lead Special Education teacher	Ms. Jasmine Patel (K‑3 Special Ed, Lincoln Elementary)	Directed rehearsals, coordinated individualized accommodations	12 years SPS experience, Certified Adaptive Theater Coach
Music Director	Mr. Carlos Ramirez (CPS Music Services)	Arranged musical scores for vocal ranges, oversaw instrument assignments	BFA in Jazz Studies, former Broadway pit musician
Drama Coach	Ms. Elaine wu (Special Ed Drama Specialist)	Guided acting techniques, facilitated script adaptations	MFA in Theater Education, co‑author of inclusive Stagecraft
Assistive Technology Coordinator	Mr. Daniel Kim (CPS AT Specialist)	Implemented cue‑card apps, sound‑feedback devices, and on‑stage prompts	Certified AT Specialist, 8 years supporting ASD learners
Student Leadership Team	Senior Special Ed Students (Grades 9‑12)	Managed backstage logistics, mentored younger performers	Recognized by Chicago Council on Youth Arts (2025)

Curriculum Integration & Learning outcomes

1. Academic standards met

• Illinois Learning Standards – English Language Arts: script analysis, narrative sequencing, and expressive reading.
• Illinois Learning Standards – Fine arts: vocal technique,rhythmic movement,and stage design.

2. Social‑emotional growth

• Progress of self‑advocacy through individualized cue systems.
• Strengthened peer collaboration via mixed‑ability ensemble work.

3. Data‑driven assessment

• Pre‑ and post‑performance rubrics measured gains in dialogue (↑ 23 %) and fine motor coordination (↑ 17 %).
• Results published in the CPS Quarterly Inclusive Education Report (Dec 2025).

Adaptive Strategies for an Inclusive Performance

• Script simplification: Complex dialogue broken into bite‑size, illustrated cue cards; color‑coded by character.
• Sensory‑friendly rehearsals: Dimmed lighting,noise‑cancelling headphones,and scheduled “sensory breaks.”
• Assistive Tech tools:
• Cue‑Line app (iOS) delivering visual prompts in real time.
• Wireless vibration monitors for tempo cues, supporting students with hearing impairments.
• Physical accommodations:
• Ramps and low‑step platforms for wheelchair access to the stage.
• Adjustable microphones with gain controls for students with vocal fatigue.

Community Impact & Audience Reception

• Attendance: 352 guests (≈ 80 % families of participating students).
• Media coverage: Featured in Chicago tribune (Dec 13, 2025) – “A vibrant showcase of inclusive arts education in the Windy City.”
• Parent feedback: 94 % reported increased confidence in their child’s communication skills; 88 % expressed desire for an annual holiday production.

Economic benefit:

• Ticket‑free event generated $12,500 in in‑kind donations (costumes,set pieces) from local businesses,reinforcing community‑school partnerships.

Practical Tips for Replicating a Holiday Special‑Ed Musical

1. Start with a curriculum audit – Align the musical’s themes with state standards and student IEP goals.
2. form a cross‑disciplinary team – Include special education teachers, music directors, drama coaches, and assistive technology specialists.
3. Choose an adaptable script – Opt for productions with flexible dialogue and strong musical numbers (e.g., The Wiz, Annie Leigh).
4. Create individualized cue systems – Use visual, auditory, or vibrotactile prompts based on each student’s preferred learning style.
5. Schedule sensory‑friendly rehearsals – Offer shorter, more frequent sessions; provide “quite zones.”
6. Leverage community resources – Seek costume donations, volunteer stagehands, and local theater mentors.
7. Document progress – Use rubrics and video recordings to assess social‑emotional and academic gains.

Resources & Further Reading

• Illinois State Board of Education (ISBE). Inclusive Arts Education Guidelines (2024).
• National Association of Special Education Teachers (NASET). Adaptive Theater Practices – downloadable toolkit (PDF).
• Chicago Arts Alliance. Partnering with Schools for Inclusive Performances – webinar series (2025).
• Cue‑Line App – free version for educators; premium features include real‑time visual prompts (available on the App Store).

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