Disability in Theatre: Strategies for Combating Ableism by Meeting Actors’ Access Needs
(Photo: BeautyAbility)
by Laura Johnson
The following article was written as part of Chico State Theatre program’s Social Justice in Theatre course. For more information about Chico State Theatre please visit www.csuchico.edu
Within the past few years, the theatre industry has begun to confront its ongoing lack of representation. While representation of disabled people has not been at the forefront of the conversation, it nevertheless is a side of the same coin of an industry that centers white, cisgendered, abled, and heterosexual voices.
However, even when discussing representation for people with disabilities, there is still an elephant in the room that needs to be addressed. Representation alone is not enough. It does the industry no good to provide opportunities for people with disabilities if theatre companies do not embrace the access needs of performers throughout the entire audition, rehearsal, and performance processes. It does not matter how many people are invited into the room if the room is completely inhospitable to them once they are there.
First and foremost, theatre companies need to make sure the physical space is accessible to all performers. In the blog post “Inclusion and Accessibility for Performers with Disabilities”, Wendy Duke provides a list of questions for theatres to ask themselves to ensure access for all actors. These include, but aren’t limited to, making sure there are enough handicapped parking spaces close to the entrance of the theatre, making sure there are access to all areas for actors who can’t use steps, including stage access from both the wings and the house, and making sure that there are restrooms close to the stage for performers who may need to use them (Duke). There are certain regulations that are legally in place, but these might not cover all the different needs of individual actors, especially if those regulations are only met for the audience, not backstage spaces. This may look like building ramps for backstage entrances or even just reorganizing if the “backstage area is too narrow because they have all these props shoved backstage” (23:17) as mentioned in the video “Wherefore Art Thou Accessibility? Disability, Access, and the Theatre With Kailee Sylvester”. Sylvester also mentions that working with a physical therapist, who’s training includes how to make spaces accessible, may also be a great way to make sure a theatre space is accessible to all actors (34:24).
These steps may take extra time and money, but it is well worth it if it enables more actors with disabilities to do work in theatre. Additionally, while the video focused on the performance venue, this is true of audition and rehearsal venues as well. If an actor would be able to perform in the theatre, but can’t get into the audition space, then the show isn’t accessible to them.
Design choices can also play a significant role in making the physical environment of the rehearsal and performance processes accessible. In her article, Duke mentions the need to “offer stage lighting that provides a general wash without bright glaring lights that limit the performer’s ability to move and see while on stage” as well as adjusting the sound system to fit actors’ needs (Duke). While light and sound design enhance the experience for the audience, it cannot come at the cost of debilitating disabled people in the room (theatre practitioners and audience members alike). Designers can still flex their creative muscles while keeping all actors’ safety and comfort in mind. In the article “Differently Abled, Working with Disabled Actors”, Edith Weiss points out that set designers should keep the needs of wheelchair users in mind, making sure that the set is accessible. Set designers need to make sure that actors with different access needs can move around the stage easily for their safety and the safety of their castmates. The article also points out that for actors that use wheelchairs, costumes need to be easy to take on and off for any costume changes that may occur (Weiss). Costumes should not only accommodate wheelchair users, but also actors with sensory sensitivities or any kind of aids.
If an actor needs any kind of visual, mobility, or hearing aid, costumers need to take that into account when creating their designs. If the directing or design teams want a specific look for the show, then it is the production’s responsibility to purchase something that suits the need of the actors, just like they would with any other costume piece or prop. Because designers create so much of the world of the play that actors interact with, it is critical that what they create is safe and fits the access needs of all actors in the show. This does not need to be a burden on the designers either. It can be an opportunity for them to use their creativity to the fullest by incorporating more individualized elements into the design that embodies the actor’s unique portrayal of the character. Safety and meeting actors’ needs do not have to come at the cost of exciting designs, it just means that designers need to be considerate and thorough in their work.
In addition to creating an accessible physical environment, the mental and emotional environment needs to be equally as welcoming to actors with disabilities. Theatre companies should make it explicitly clear in their mission statements and audition notices that all access needs will be met and that disabled actors will not be discriminated against during the casting process. They also need to provide an easy way (like a section in an audition form) for actors to alert them of any access needs, so that they can make the necessary accommodations for auditions and onward. People with disabilities do not all have the same access needs, so even if a theatre company consciously works on making their process accessible, an actor may have an access need that they haven’t prepared for.
Directors need to be proactive in accommodating these needs throughout the process. In “Practicing Disability Justice, Honoring Wholeness Onstage”, Lydia X.Z. Brown notes that ableism is ingrained in theatre through “the intense physical, emotional, and psychological expectations that are nearly ubiquitous in auditions, rehearsal processes, and performance schedules” (Brown). All members of the directing and production teams need to be ready to shift those expectations. Breaks may need to be added during rehearsals or built into the show. Performance schedules may need to be reevaluated to see how they can better fit the needs of actors with disabilities. The article also gives an example of how directors may need to change their expectations in the way they work with actors artistically as well. Nicole D’Angelo is an actor with autism who worked with a coach who asked her to stand still, and she had to explain that avoiding stimming (repetitive moments used to express or cope with emotions) was not just something that is impossible for her, but also discounts a unique form of expression (Brown).
When engaging with actors, directors need to know how to accommodate their needs, but also need to learn how to embrace them as a way for the actor to bring themselves to the role. It is in that process that disabled actors can truly be included and bring authentic representation to the stage. Taking these steps to improve the mental and emotional environment can help abled actors as well. Just because an actor is not disabled does not mean that everything is perfect the way it is. By intentionally working to accommodate actors with disabilities, theatre companies can make productions less taxing on everyone and can make room for more types of expression. All theatre is better when improving accessibility and meeting access needs become regular practices.
The inclusion of actors with disabilities is not just simply a matter of casting them more often. It is an ongoing process that seeks to accommodate and embrace the access needs of all actors throughout the entire production process. All physical spaces that an actor might be asked to work in need to be optimized for the safety and well-being of actors. Designers must consider access needs when creating and implementing their designs and suit their designs to the individual actors they work with. The working environment must actively demonstrate a dedication to fulfilling the needs of actors with disabilities, from making scheduling changes to embracing those needs as a part of the artistic process.
No one should be barred form being able to access the amazing art form that is theatre. Theatre companies must start implementing changes that make their productions welcoming and inclusive for all actors with disabilities and remain persistent in working to make theatre accessible for all.
~~
Works Cited
Brown, Lydia X.Z. “Practicing Disability Justice, Honoring Wholeness Onstage”. American Theatre, Theatre Communications Group, 26 Mar 2021, www.americantheatre.org/ 2021/03/26/ practicing-disability-justice-honoring-wholeness-onstage/. Accessed 28 Feb 2022.
Duke, Wendy. “Inclusion and Accessibility for Performers with Disabilities”. ArtsBlog, Americans for the Arts, 16 Sep 2019, blog.americansforthearts.org/2019/09/16/inclusion-and accessibility-for-performers-with-disabilities. Accessed 28 Feb 2022.
Weiss, Edith. “Differently Abled, Working with Disabled Actors”. Pioneer Drama, 19 Oct 2011, www.pioneerdrama.com/Newsletter/Articles/Disabled_Actors.asp. Accessed 28 Feb 2022. “Wherefore Art Thou Accessibility? Disability, Access, and the Theatre With Kailee Sylvester”. YouTube, uploaded by The Disableist Network, 4 Feb 2021, https://www.youtube.com/ watch?v=jVT5LukTLcw.