Interweaving Accessibility into Theatre

Interweaving Accessibility into Theatre: Working with Disabled Creatives for Disabled Audiences as a Disabled Theatre Maker

February 2025

Dr Grace Tomas, Senior Research Fellow in Arts Engagement, specialises in applied theatre, community art, and social activism through the arts. Her current research focuses on arts accessibility for disabled individuals and embedding inclusion into arts practice. Grace is also the Founder & Creative Director of WordForWord Arts, a not-for-profit performing arts company that highlights societal issues and enables arts engagement in communities. 

The January 2025 edition of the peer-reviewed publication The Journal of Consent-Based Performance (JCBP), included an article by Grace titled "Interweaving Accessibility into Theatre: Working with Disabled Creatives for Disabled Audiences as a Disabled Theatre Maker,". The journal explores the study, practice, and pedagogy of consent-based performance practices through both scholarly articles and practical notes from the field. Grace’s article is a note from the field piece, depicting her project, "Living with...," which produced public events exploring different invisible disabilities.

Overview
Grace begins by sharing her personal experience of living with the long-term illness Fibromyalgia, and the scepticism she has faced over the years in relation to this illness. One of the events, "Living with...FiBrOmYaLgiA," was designed to give people with Fibromyalgia space to raise awareness and change perceptions amongst audience members. The articles details that the performance was “conceptualised as an embodiment of life with Fibromyalgia, exploring the physical symptoms, the negative perceptions of the condition, the trauma of navigating the UK's disability benefit system…”, calling for the illness and the lived experiences of those with the illness to be legitimatised. Notably, 50% of the cast and production team had a disability, including 25% with Fibromyalgia.

Setting the Scene
Grace’s vision for the set was an informal aesthetic, with no backstage area and visible technical aspects. The set, made of duvets, blankets, cushions, and pillows, alongside the costumes (the cast members own pyjamas) represented the time many Fibromyalgia sufferers spend in bed. The soft and comfortable setting also provided comfort for health complaints and a safe setting for rest when needed.

During rehearsals

Collaborative Creation and consent
The performance was created collaboratively with the actors though poetry, medical information, and interviews with Fibromyalgia patients. Grace notes that the verbatim interview content sparked discussions among the cast, revealing the complexities of ableism and the ‘revelation’ that disabled people can be flawed. Inclusivity was a priority, with open discussions and a diverse cast and production team bringing different perspectives and lived experiences. The article touches on the opportunities or lack of, for disabled actors to establish boundaries during rehearsals/ productions and how in “2020, 95% of disabled characters were played by able-bodied actors (Kataja 2020)” which further reduces the opportunity for autonomy when scarce roles are secured. Those involved in "Living with...FiBrOmYaLgiA," created a vocabulary of physical actions to use during the movement sequence that could be used to suit the individuals involved.

Accessibility in Practice
Accessibility was built into all aspects of the production, from the length of the show to the performance times and venue. Performances were free, and the flexible schedule allowed for audience members with disabilities to attend comfortably. The final performance was livestreamed, ensuring access for those unable to attend in person.
Grace sough comment from one of the cast members, Esther Ridgway, on her thoughts on the production as well her wider experience as a disabled actor. Esther said “It was a great show to bring people awareness of what life with a hidden disability looks like. Even though, at the time, my disability was hidden - I didn't need to use crutches or sticks as I do now - I felt like a fraud if I said that I had a disability.
This show lets people realise the hardships that people who don't look disabled but have long-term health conditions go through. I felt that working on this show gave me that sense of belonging as well that I could work with a theatre company and express the needs I had during rehearsals but also for the show, making sure that I had extra blankets and pillows, so I didn't hurt myself. The show and everyone working on it gave me that voice so I can say what is working for me and my body and what isn't, which is crucial for me.”

Conclusion
Grace reflects on the ongoing battle for accessibility and inclusion within the arts. She emphasises that the adjustments made for this production not only increased accessibility but also enriched the content and structure of the performance. Working with disabled creatives and making theatre for disabled audiences broadens the creative possibilities and offers meaningful experiences for everyone involved. Grace's article is a powerful testament to the importance of accessibility and inclusion in the arts. It provides valuable insights into the practicalities and benefits of working with disabled creatives and highlights the need for continued efforts to make the arts accessible to all.

Read the article in full.