Getting Perspective!

Across the UK, it is pantomime season. Many theatre companies will be going through the process of taking a traditional show and making technical adjustments to meet the requirements of a relaxed performance format. Whenever I’ve gone through this process, particularly with creative teams, but also with customer service and venue teams, I encourage teams to see new perspectives. ?For me, I continually check my neurotypical perspective, and what isn’t useful about that, and begin to investigate the barriers my neurodiverse peers may face. I read, I research, I consult, I listen, and I advocate for action.

That action usually involves working with the lighting team to see their design from the audience's point of view. ?To do that, our aim is not to simply ‘plot’ a new lighting cue, but to create the environment to understanding why the adjustment is important. ?There are inevitably comments like, “But that change might spoil it for everyone” or “I’ll change it, but I think it ruins the moment”.? Yet, nothing is ever ruined and a creative alternative to meet both the artistic objective and audience need is always achieved.?

More so, I have heard from many theatre Directors over the years, that advocate that when harnessing Access creatively, they have enhanced the storytelling process and solved many problems.? And that’s the point, Access shouldn’t live in a siloed ‘check box’ list, it should thrive as part of your creative practice.?

Family-friendly theatre producers have been investigating and applying such creative practices for some time. Their focus on children, with an emphasis on their early developmental needs, leads to intersections with sensory-friendly considerations.

• What are the appropriate experiences for children?
• What kinds of stories resonate with families?
• What are the technical effects, that are suitable for developing minds?

I’ve been involved with productions that adopt this family friendly approach, where the production is formed based on the specific needs of the target audience. ?This creates an experience that isn’t about “what I want” but what others need.? The strobe light is a good example. For the designer, a must - for the audience, not necessary. Making theatre for young audiences can help inform inclusive practise, intentionally putting the audience's needs first.

That said, as I write this post, I am reminded to remember that relaxed performances should not be just part of family programming. In Singapore, I also considered the role of familiarisation resources, to support autistic adult’s attendance at performances with more mature themes.? There is a fine line that is often tussled with for producers - between being too prescriptive, and therefore assuming, or doing nothing, and excluding. In my experience, you can rarely serve everyone all of the time. ?Getting perspective offers the opportunity to understand first, and then make the right commitment to the audience you are serving.

Remember, it’s a journey. The process of starting with a small but intentional adjustment can lead you to better integration of access.

Paul Anthony Adams.

Alt text: A twisting staircase spiralling upwards to a high vantage point. From the top a light glows brightly illuminating the steps.

Further reading. “The Art of Inclusion: Empowering Neurodiversity in Theatre.” https://onthestage.com/blog/the-art-of-inclusion-empowering-neurodiversity-in-theatre/