Ms. Brewer is a veteran actress best known for her groundbreaking work on the television series “American Horror Story.” Mr. Barbanell, who goes by Eddie, played Billy in the 2005 movie “The Ringer,” starring Johnny Knoxville. He and Ms. Brewer have performed onstage for much of their lives.
But taking on such a large and high-profile theater role is a completely new challenge.
“The biggest hurdle is the amount of dialogue and stage direction that comes all at once,” said Gail Williamson, Ms. Brewer’s agent, and a prominent advocate for performers with disabilities. “When you’re doing a television show or a film, you have a scene and you can work on that one scene. Doing theater, you have to have it all down.”
At the rehearsal space for the show, Ms. Brewer was going over lines with fellow cast members Debra Monk, Mark Blum and Vanessa Aspillaga. In the scene, Amy, wearing pink noise-canceling headphones as she watches a movie on her tablet, is visited by her two siblings, played by Ms. Monk and Mr. Blum. Ms. Aspillaga portrays a caretaker. Every few minutes, after a scene would start, the show’s veteran director, Scott Ellis, would interrupt to offer notes and tweak the blocking. Turn this way. Walk that way. React more.
The stops and starts were especially important for Ms. Brewer. The more repetition, the easier the memorization, and the more the scenes would be ingrained into her muscle memory.
“That was great, Jamie,” Mr. Ellis said. “Back it up one more time,”
Another stop, more direction and then repeat. Mr. Ellis kept offering words of encouragement to the cast, while Ms. Ferrentino sat nearby, taking notes on a notepad smaller than her hand. Occasionally, she would whisper to Mr. Ellis. Throughout the rehearsal, Ms. Brewer cracked jokes; nearby, Mr. Barbanell quietly observed.
The play is based on Amy Jacobs, Ms. Ferrentino’s aunt, who also had Down syndrome and is now deceased. When Ms. Ferrentino began writing the play, her process was complicated by the limits of her aunt’s verbal skills, which made creating dialogue a challenge. In 2015, she reached out to Ms. Williamson, whose entire client roster is made up of performers with disabilities. Ms. Williamson connected her with Ms. Brewer, who had just become the first person with Down syndrome to walk the runway at New York Fashion Week. The playwright and the actress met for coffee and hit it off immediately.
Ms. Brewer told Ms. Ferrentino that when she had played characters with Down syndrome, she often had to cater to an audience’s expectations, regardless of her abilities. Immediately, Ms. Ferrentino decided that the play would be as much about Ms. Brewer as about her aunt.
“That informed how I wrote the play,” she said. She wanted to give Ms. Brewer room “as an actor, and a person, a chance to step outside that role and show the audience who she actually is.”
Ms. Brewer, an only child, grew up in Orange County, California, before moving near Houston, where she was involved with a local theater. She said she started performing around eighth grade, with her family’s support.
“Individuals with disabilities have different ways of coping with things,” Ms. Brewer said. Her way, she explained, was plunging into the arts, like her character, who must handle her father’s death.
After the play was written, the task was to find Ms. Brewer’s understudy. Ms. Williamson connected Ms. Ferrentino with Mr. Barbanell, who was living in Coral Springs, Fla.
For their first meeting, Ms. Ferrentino told him not to prepare anything; she just wanted to meet him. But Mr. Barbanell, accompanied by his mother, was ready with scenes from “A Midsummer Night’s Dream,” “Julius Caesar,” “Henry V” and “Romeo and Juliet.” At a diner, he pushed his ice cream sundae aside and insisted on showing Ms. Ferrentino his skills.
Just like that, he won her over.
“He performed the most beautiful, word-perfect Shakespeare,” Ms. Ferrentino said. And instead of finding another Amy, Ms. Ferrentino and Mr. Ellis decided that Mr. Barbanell should occasionally be given his own performance dates — and when he played the lead, the play would be “Andy and the Orphans,” with some scenes rewritten for a male lead.
On the first day that the cast rehearsed in the actual performance space at the Laura Pels Theater on 46th Street, Mr. Barbanell, urged by Ms. Ferrentino and Mr. Ellis, stood up and enthusiastically recited Romeo’s balcony speech from “Romeo and Juliet.” (“But soft, what light through yonder window breaks?”)
Encouragement for this cast was not in short supply, Mr. Barbanell noted.
“Because I have Down syndrome, I’m down and I’m up,” Mr. Barbanell said. “I’m like an elevator, and they brought me up,” he added, referring to Ms. Ferrentino and Mr. Ellis.
Ms. Ferrentino and Mr. Ellis have embarked on a learning process of their own. Neither had ever done anything like this. And it turned out not to be as daunting as it seemed.
“The questions that we had, so far, are, ‘What is it like having actors with Down syndrome in our professional rehearsal space?’” Ms. Ferrentino said. “Well, we’ve answered at least that question. It’s not that different. So the next question is, what would it be like to have them in performance? Who knows what the answer to that is?”
Mr. Ellis added, “That will be the next thing.”
Being an advocate for those with disabilities is a role Ms. Brewer and Mr. Barbanell take very seriously. They both want to open doors and change attitudes. Mr. Barbanell told a story about working as a bus boy at an assisted-living center, where he constantly heard epithets from his co-workers directed toward people with disabilities.
When he found out he was cast in “Amy and the Orphans,” Mr. Barbanell had a message for them on his way out the door: “Take a look at me now.”