As the world has evolved, so too has the way we enjoy and engage with live performance and theatre. From ending smoking indoors to online ticketing, leaps and bounds have been made to increase the appeal theatre has to the masses. And in recent years, an increase in what have become known as ‘accessible performances’ have marked the latest innovation in inclusivity of all audiences, addressing needs previously ignored. These have been adopted in the West End, local theatre and even in our own student societies, with the Sheffield University Theatre Company (SUTCo) often offering an accessible run despite their half-week productions. But it’s not all sunshine and roses, with some people still finding these so-called ‘accessible runs’ inaccessible. So what can be done about this, and how can theatre providers work effectively to allow all people to come and enjoy their shows?
Let’s first begin by clarifying what is meant by an accessible run. Accessible performances are used in the performing arts and musical theatre industries to describe a performance of a show with modifications or allowances made outside of the usual running to accommodate audience accessibility requirements. Aiming to allow a wider variety of people to attend live theatre performances without judgement or reservation, accessible performances modify sections of the show, effects or create additional provision to give audiences a more comfortable environment. These have risen to prominence in recent years with a greater awareness of subjects such as neurodiversity and can be seen through changes such as reduced lighting or sound effects, house lights remaining on during a performance, cast members introducing themselves, characters and costumes before a show begins, and quiet rooms available mid-show.
So, this all sounds good, but how can we make these as effective as possible, with only a limited number of accessible performances built into larger runs of shows, and many shorter ones unable to offer them? Well, the first thing that must be accepted is that if a production wants to put on accessible performances, they must commit to doing so properly and authentically. Half measures will simply not do, and one of the clearest examples of this is running a performance with certain adjustments and simply naming it an ‘accessible performance’. It should come as no surprise that with such a wide range of accessibility requirements, what works for one person may not work for another or may even hinder another’s experience in the process.
For example, whilst one person may find that by keeping house lights up, they are able to engage more effectively with a show, another person in the same audience may find this distracting. For others, sound may be scaled down to avoid overwhelming someone with many and repeated loud noises, but for some with auditory processing issues, clear enunciation may be lost with reduced volume, meaning they are unable to engage. Therefore, instead of having a single ‘accessible performance’, productions should aim to have a series of adjusted shows, with different sets of changes to include as many prospective audience members as possible. Without this, any changes may be arbitrary and counterproductive to many people who rely on such shows.
With this in mind, how do we select what adjustments to make and when? This is where dedication to providing authentic adjustments would be truly tested, as the best way to make these calls are to ask those with the greatest stake in them for their thoughts, that being those audience members themselves, and accessibility charities and experts. It’s only through effective consultation with these communities that we can curate accessible runs that are truly authentic and work for those who need them most. This could be through mailing lists and social media posts from specific productions, or a wider effort coordinated by U.K. theatre charities or organisations. A strategy such as this would also allow much smaller productions to build a picture of their audiences’ requirements, and potentially make conscious decisions throughout a show’s creation process to build these accessible elements into the main run, as opposed to an ‘othering’ that accessible performances can often become.
Once it’s been established what adjustments a show is going to be made, it’s then down to every technical department of the show, the cast and creative teams, front of house and publicity staff to deliver a global and effective implementation of these strategies. In order to fully address as many requirements as possible, every department must be fully invested and committed to delivering as authentically as can be realistically managed. This can often be a difficult pill to swallow, especially when asking crew members such as lighting designers and sound designers to, on occasion, scrap or tone down large sections of their designs to levels that they would not readily accept in regular performances.
And it’s times like this that collaboration, communication and a sense of purpose is most crucial. The people who go into theatre do so to create magic and bring incredible stories to audiences (trust me, no one is in this business for the pay!), so keeping in mind that these changes, no matter how extensive, are done for the betterment of the community and allowing the maximum number of people to come and enjoy the theatre must remain at the forefront. Compromise on all sides allows for the most effective adjustments to be made, and only by working as a cohesive unit can these be achieved.
The final thing that must be remembered when curating accessible performances is the need to keep adjustments in constant review. Whether this is gauging needs from audiences regularly or even contacting previous attendees for feedback, keeping an eye on what has already been adjusted, how this has worked and how it can be improved further is the best approach to ensuring accessible performances remain relevant and open to as many people as possible. This may yield similar results time after time and could feel like an unnecessary formality, but for those who benefit most, it’s only by constant review that accessible performances can remain as accessible as possible. Seeking new audiences, new feedback and new ideas is crucial to keeping these runs open to all.
The rise of accessible runs in recent years, from the velveteen auditoria of the West End, down to the local level in our very own student societies is a testament to the work that has already been done to give the gift of theatre to any and all audiences and has allowed countless people of all ages to enjoy a form of entertainment that was previously nothing more than a distant hope. But we cannot stand still. There is still work to be done, more improvements to be made and more ideas still to be tested. I am confident that productions across the world will continue to innovate on these important issues, and one day reach a level where no one faces accessibility barriers to enjoying live theatre.
