A Conversation with Writer/Performer Maria Fagan Hassani, "Atypical Grace," The Zephyr Theatre, Hollywood Fringe, by James Scarborough

In the intimate setting of The Zephyr Theatre, Maria Fagan Hassani becomes Marilynn, an educational therapist whose weekly support group reveals struggle, resilience, and unexpected connection. "Atypical Grace" avoids the tearful sentimentality that often spoils single-performer shows about disability, instead offering a clear-eyed look at how learning differences affect entire families.

Hassani's performance works on two levels: as Marilynn, she guides and participates, helping parents face their children's challenges while confronting her own unresolved issues. The narrative cleverly mirrors therapy itself - circular rather than linear - where small revelations rather than dramatic breakthroughs mark progress. Fagan Hassani draws from her experience as an educational therapist to create authentic characters, avoiding both caricature and condescension.

What distinguishes "Atypical Grace" is its refusal to offer easy answers. The production acknowledges that raising children with learning disabilities involves frustration and doubt alongside unexpected joy. Under Heather Dowling's direction, the show shifts fluidly between perspectives, creating a rich narrative that honors these families' complex experiences while maintaining coherence. The result is a production that informs without preaching and touches without manipulating—a delicate balance rarely achieved in issue-driven theater.

Below follows an email conversation with Maria Fagan Hassani.

JS: Your show presents multiple parent perspectives rather than focusing on a single child's story. What guided this structural choice? How did you ensure each perspective received proper development within a one-hour format?

MFH: First, it was important to me as an educator that parents with children who struggle with learning see themselves represented in the show. Second, I wanted those who have not encountered learning disabilities to begin to experience the diverse world that it truly is.. I also wanted allied professionals, those who work with our families, to see themselves reflected as an integral part of the story being told onstage. Even though it can seem like it at times, we are not alone.

Having the opportunity to cull and curate a variety of parental perspectives from my years in private practice as a board-certified educational therapist (BCET) allowed me as a writer, performer, and educator to provide accurate depictions of a wide array of learning challenges. My show is by no means a comprehensive study of all learning disabilities, but rather it serves as an introduction for many and a reflection for most.

JS: As both an educational therapist and performer, how did you navigate the line between clinical accuracy and creating dramatically compelling characters that avoid becoming mere archetypes or teaching tools?

MFH: To be totally candid, navigating this line was very challenging. This show is intended to be ‘edutainment.’ In other words, it takes the audience on an entertaining and enlightening journey while also educating them about the world of learning disabilities. Luckily, I had the opportunity to do a virtual reading of the script when I initially wrote it back in 2023. This provided initial feedback from a close and trusted group of friends and colleagues about what in the show was distracting or needed further clarification.

I was also able to do one performance of Atypical Grace back in December 2024 at the Soaring Solo Stars Festival. I had a number of educators, parents, and allied professionals attend the show. Their feedback was integral to further improving the show ahead of its Hollywood Fringe Festival premiere.

JS: The show's title, "Atypical Grace," suggests finding beauty in difference. Could you elaborate on specific moments in the production where this theme appears most powerfully?

MFH: It shows up most vividly between the facilitator of the group, Marilynn, and her daughter, Larissa. They have had a problematic relationship and generational history to unravel. As Marilynn does the work to forgive herself for her past actions (or lack thereof), she starts to extend grace to her daughter. Through this process, they both finally begin to heal their relationship.

Also, each of the parents finds moments throughout the 60-minute journey of the show when they realize they are likely being too hard on themselves or their children. They realize that it’s critical to release the parental reins a bit, step back, and re-evaluate the bigger picture of their journey.

For example, one of the characters, the father of a son who is autistic, has to reimagine what it means to be a parent to his son. He had always pictured parenting together with his partner, but life threw him a curveball. Another character, a mother to a fourth-grade boy, comes to terms with how she has compensated in the most productive way! to overcome her challenges with reading and managing life. Their worlds are full of differences, and it’s magical in how each character deals with their life circumstances.

JS: Solo performances often rely on minimal technical elements to support the storytelling. How did lighting, sound design, and your use of space contribute to differentiating between characters and settings in "Atypical Grace"? Which technical choices were most effective in this intimate venue?

MFH: My director, Heather, and I chose to keep it very simple. There is very little use of props, if any. We utilize a few slides to suggest location; however, since this is an intimate story of the characters’ lives, it was essential to keep the space safe to have these types of conversations.

With the focus on the struggle and the interactions of the characters, the audience is free to engage with each character more fully.

JS: Your director, Heather Dowling, has significant experience with solo performance. How did her guidance shape your approach to embodying multiple characters? What specific techniques helped distinguish each voice?

MFH: Heather is a master at creating characters. In the group scenes, I play five different characters who interact with each other in a group. As I wrote these scenes, I pictured the characters interacting with each other effortlessly, just like it would be in real life. But as I began to stand the show up on its feet, it became apparent that it was a monumental task I had created for myself.

Through Heather’s expert guidance, I was able to refine each character to be distinct and readily recognizable. We worked on eye lines to suggest the characters sitting together in a group. It sounds simple, but to make it believable for the audience is another story. Heather and I spent countless hours making sure each character was unique and distinguishable, and that each had their own personal arc within the arc of the whole show. To depict five different characters interacting with each other took a great deal of time to stage and refine. I’m still working on that piece!

JS: The press materials note this show is "not autobiographical" yet draws from your professional experience. Did this professional distance make it easier or harder to create an emotionally authentic narrative?

MFH: Definitely, easier! When I am working in my role as an Educational Therapist with individual clients, I am solely focused on them. The sessions and the support are individualized and tailored to their needs.

When I put on my writer and/or performer hat, my focus completely shifts. From that vantage point, I’m looking for commonalities between families and students, both to write about and perform. As is evident in Atypical Grace, there are commonalities in families that include diverse learners. As a writer and a performer, it was my goal to bring those commonalities to light to help educate those audience members who may be new to the world of learning differences.

Then, as a performer, it is my job to embody the character head to toe. That requires me to be fully present and connected to the individual character I am portraying.

JS: Beyond entertainment, what conversations or changes do you hope this production might spark among audience members who work with or parent children with learning differences?

MFH: Forgiveness is the biggest takeaway from the show. Forgiveness for ourselves and each other as we navigate the complex journey of learning disabilities. We all have to find our way through life, and we often make mistakes, but there is always a way through, a light at the end of the tunnel.

Additionally, parents realize they are not alone in their struggles. There is a community of resources and support. Searching that out is critical to making it through the struggles intact.

Performances are June 7th at 5:45 PM (with post-show talk back), June 22nd at 4:00 PM, and June 27th at 7:00 PM. Tickets are $15. The Zephyr Theatre is located at 7456 Melrose Avenue, West Hollywood. For more information, click here.