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Exclusion and Lack of Accessibility in Theatre

Bethany Slater

Siena Heights University

ENG 102: Reading & Writing II

Professor Tammy Root

October 14, 2022

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Exclusion and Lack of Accessibility in Theatre

I am an able-bodied person who can see, hear, think, and move around with no assistance

from others or a device. These traits are seen as the "norm." I often forget how privileged that

makes me, not only in politics and society, but even with simple pleasures such as theater. I am a

theater kid at heart so attending various theatrical shows is one of my favorite things, as is being

in a production. Again, as an able-bodied person who can see, hear, think, and move around with

no assistance, attending shows or being a part of the cast/crew is hardly an issue. Unfortunately,

those with a hearing, visual, cognitive, or movement disability must go through multiple barriers

to attend a show. If someone wants to be involved with a production, those barriers increase

tenfold. The lack of accessibility in the theatre industry perpetuates those barriers. While most

people think accessibility in theatre is only about having wheelchair seats and ramps,

accessibility touches every aspect of both the patron experience and the backstage operations.

Theatre is such a monumental part of one’s culture and social experience. From Ancient

Greek tragedies to Sanskrit dramas to modern day shows like Hamilton, theatrical art has been

bringing communities together for thousands of years. Having an accessible performance allows

people with disabilities a chance to be a part of the larger community while bringing their own

experiences to the space. To make public spaces more accommodating, the American with

Disabilities Act (ADA) compiled a checklist for theaters as guidance. It contained guidelines and

language about service animals (only dogs or miniature horses), door handles (if they’re easy to

use), counters (ensure at convenient height for wheelchair users, children, and/or shorter people),

ramps (cannot be more than a 1:12 ratio), and more. There are requirements that may vary by

company, such as the rules for wheelchair seating. If a theater has under 25 total seats, they’re

only legally required to have 1 wheelchair seat; if a theater has between 151 and 300 seats,
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they’re only required to have 5 accessible seats (Austin, 2018). In addition to the checklist, all

businesses open to the public must comply with the ADA Standards (the minimum requirements)

such as permitting use of service animals and mobility aids, accommodating to a customer’s

preferred communication method (ex: TTY, writing), and keeping passageways clear (Malson).

Despite the efforts of ADA, trying to get an equitable theatrical patron experience to that

of a non-disabled person is almost impossible. Society has three general responses to any non-

standard persons – exclusion, goal of curing or adjusting to the norm, or eliminating differences

(Harris, 2019, p. 952). The theatre world’s main behavior follows the former, both on stage and

off. There are very few opportunities for artists with disabilities to work in the Mainstream

industry. However, the “systemic exclusion of people of diverse identities within artistic

practices is not only politically problematic, it is artistically detrimental” (Patterson, 2020).

Debbie Patterson is actress and wheelchair user. She, like many other disabled artists, face many

barriers, not just related to physical infrastructure. One of these huge barriers is the belief that

disabled people live “less worldly” lives and cannot make good art when, in fact, disabled artists

bring new perspectives that open new worlds. This shift in perspective was utilized in a

production of Richard III where Patterson was the first disabled actor (in Canada) to play the title

role. The director wished to honor the lived experience of disability, it “wasn’t the expected play

about an evil twisted person with an evil twisted soul, a story that comes from “othering” people

with disabilities. Instead, it was a disability revenge play—a story of an excluded,

underestimated, and disrespected person who seizes power from the family that has held him

down all his life” (Patterson, 2020). Patterson was able to use her lived experience as a disabled

person – constantly being an afterthought nor treated with respect – and apply it to her acting

work. Basically, the ideal use of method acting. Mat Fraser, the first disabled actor in the UK to
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portray Richard III (in a different production from Patterson), comments how “an authentic

actor’s portrayal can make them [people with disabilities] finally feel a part of the story. It’s

almost revolutionary for some (and perhaps revolting for some non-disabled others?)” (2017).

Fraser also urges the disabled community to be more involved – real, disabled characters written

from a place of experience and knowledge are desperately needed. The few disabled characters

that are shown on-stage are often written from a place of ignorance, which can result in

spreading misinformation or can reinforce harmful stereotypes. Having proper representation

allows those who are being represented feel validated and seen. It allows them to feel

comfortable and safe in that space. Representation of disabled people in theatrical spaces serves

as proof that disabled artists can effectively do the work, which opens doors for future

opportunities (Kelly & Poret, 2019).

Unfortunately, those ‘authentic portrayals’ don’t always happen. The Curious Incident of

the Dog in the Night-Time first debuted in 2012. Although the main character is autistic, no

companies hired an autistic actor until Mickey Rowe in 2017 (Fierberg). But Rowe was hired for

a regional theater, the Broadway production of Curious Incident never had authentic portrayal.

This same pattern occurs across Broadway and regional theaters, notably in productions of

Wicked (non-wheelchair users playing a wheelchair-using character, Nessarose) and The Miracle

Worker (a person who can hear and see plays a Deaf-Blind character, Helen Keller). One may

wonder about the logistics of having a wheelchair user play Nessarose, especially during the

climactic moment where Elphaba uses magic to make her walk. Another may wonder what a

DeafBlind actress would do if there was a mishap, or if a line was skipped. The short answer is:

it depends. Disabilities exist on a spectrum, so there is no true universal disabled experience. One

wheelchair user may be completely paralyzed from the waist down, while another wheelchair
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user may be able to walk on ‘good days’ but uses their chair regularly to avoid fatigue. While

Helen Keller (HK) was profoundly deaf and completely blind, many DeafBlind individuals have

some residual hearing and/or vision. I’ll describe how I would approach the characters of

Nessarose and HK, keeping in mind that I am able-bodied and do not have lived experiences of

these disabilities so if one happens to be casting for a disabled character, the creative team

should work with the disabled actor to determine logistics and safety precautions. For Nessarose,

three possibilities immediately come to mind: 1) If the actress is able and willing, she could

stand herself for that climactic moment, maybe taking a few steps; 2) A body double could be

used for that moment only, with the actress voicing from the wings; 3) If the actress is willing

and able, she could be wired and harnessed to the rigging system which would lift and hold her

up to mimic standing. For HK, anything and everything that happens during a performance,

whether it be on-stage or off, can be communicated through Protactile ASL (different than tactile

ASL), to which the DeafBlind actress can respond accordingly. Deaf West Theatre in California

recently ran a production of Oedipus where a DeafBlind actress was cast. If you look up

promotional videos from that, you can get a small sense of how a DeafBlind actress moves about

the stage and interacts with other characters. The lack of authentic characters and portrayals

further excludes the disabled community by not allowing them to be a part of the artistic process.

Oftentimes, this will lead to exclusion from the final product – the performances.

Regardless of what accommodation one may be seeking, it involves a whole process of

requesting a service and figuring out logistics before one can even buy a ticket. Non-disabled

people can simply go online or call the box office and have a ticket purchased within five

minutes. While a Deaf patron must first find out if the theater offers a sign interpreted or a

captioned performance, find out when that accessible performance is happening, hope that
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they’re available that day, and then buy the ticket. But most theaters don’t allow those who use

accessibility services to book online, they’ll typically require an email or phone call which then

forces the Deaf consumer to wait for a response – is that an equitable experience (Louise et al.,

2021)?

Nevertheless, the goal of accessibility services is to provide an equitable experience to

that of a non-disabled audience member.

For those who are Deaf or hard of hearing, there are assistive listening devices (ALDs),

captions, and interpreted performances. ALDs amplify sound and are the most widely offered

accessibility device; from my experience as an accessibility coordinator, those who use ALDs

often don’t self-identify as ‘disabled’ – this is a prime example of how accessibility benefits

everyone. For captions, there are two types: open and closed. Open captions (OC) can be seen by

everyone; they can be projected on to the set, a TV, or an LED display. If offered, open captions

are usually just for one performance (typically a matinee). Another type of open captioning is

Communication Access Realtime Translation (CART) where a person using a stenography

machine provides real-time captions. I have never seen nor heard of CART being used for a

regular theatrical performance, but it would be ideal for an improv show or a show that

constantly changes, like The 25th Annual Putnam County Spelling Bee. Closed captions (CC) are

used by an individual, either by downloading an app to a smartphone or a theater-provided

device. In my experience, CCs are becoming more prevalent and can also be used on demand.

The major problem with captions, other than their accuracy, is technological troubleshooting.

Oftentimes a patron will request a device (or come for the OC show) and when they arrive, the

equipment is dead or broken or hasn’t been properly tested. Sign interpreted performances are

the more costly option but provide the most equitable experience by taking the art and
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transforming it into the patron’s native language. One of the most common errors with

interpreted performances is the interpreter placement. The theater will place the interpreter(s)

“too far off to the side or not on the same level of the stage, forcing the audience to wrench their

necks to watch the show like a tennis match, and causing them to miss the action onstage. The

whole show becomes disjointed and disengaging” (Bevan, 2021). Then there’s the issue of

getting qualified interpreters, which is an entirely different struggle.

For those who are blind or low vision, there are special programs, audio description, and

touch tours. Large print programs are very common and, like ALDs, are typically used by those

who don’t identify as disabled. They’re easy to make with a Word document, it just involves

adjusting the formatting. Large print, as well as other digital or paper materials, should use

dyslexia-friendly fonts. Braille programs are typically only offered if the company does audio

description. Braille programs usually have to be outsourced and can cost a few hundred dollars.

They can be handed out like regular programs or some theaters charge for braille programs while

others only allow the patron to borrow it. Touch tours happen on the same day as an audio

described performance. Depending on the theater, it may include actors, the director, designers,

or other members of the creative team. The purpose of a touch tour is to allow patrons who are

blind of low vision to see or feel the set, costumes, and/or props. If the production is a period

piece, the intricate costume stitching or fabrics can be passed around. If the show has a notable

prop that’s used, like an ancient scroll, that can be passed around as the director/designers talk

about it. The addition of actors can make a huge difference in a patron’s experience. Involving

the actors in a touch tour allows the patrons, whether they’re using audio description or not, to

become familiar with the actors’ voices and, if applicable, any accents or specific character

intonations. Then when the performance starts, the patrons are already familiar with the different
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characters and don’t have to spend the first half hour trying to figure out who is who, they can sit

back and enjoy. Audio description (AD) takes whatever is visible – the action, sets, props,

costumes – and puts it into words. Because AD shouldn’t interfere with the onstage dialogue or

singing, some things are described pre-show and/or during intermission. The

pre-show/intermission notes, while not mentioning any plot important things, can include

descriptions of the sets, costumes, hair, skin tone, important props, and any visibly notable things

such as a character’s gait. If done right, AD can provide a near equitable experience to that of a

sighted patron. Unfortunately, qualified audio describers are even harder to find than qualified

sign interpreters. A huge contributing factor is the lack of formal AD training. I, personally, went

through a one-day training lead by two seasoned audio describers who made the course

curriculum themselves. But it was still only one day of training. The rest of the trainees and I set

up a weekly practice session, but others may not be as disciplined or motivated to hone their

skills. Plus, the AD equipment often causes trouble. Whether it’s due to bad upkeep, old

equipment, broken equipment, not testing prior to the performance, or just not knowing how to

use it, it’s not uncommon to have to wait for someone to troubleshoot or to be told the service

can’t be offered.

For accessibility devices – CC, ALDs, AD, braille programs – some theaters have a ‘first

come, first served’ policy while others require a fee. Offering these services is a good thing, but

the attitude needs to change “as it can come across as rather cavalier – ‘It’s there if you can pay

for it.’ or ‘Sorry but you were too late’” (Calliste, 2018). In a perfect world, these would be free

and plentiful.

For those on the autism spectrum or with sensory processing disorders, there are sensory-

friendly performances (also called relaxed shows). Unlike regular performances, sensory-
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friendly shows allow talking and other noises to happen, walking around is allowed, and the

house lights are dimmed instead of turned off. If applicable, any strobe or flashing lights are

taken out as well as loud or harsh sound effects. If microphones are used or music is played, they

are kept below 90 decibels. A designated quiet space is usually offered in the lobby or a nearby

area. Ideally, there would also be reduced audience capacity. Of all the aforementioned services,

sensory-friendly shows are the hardest to find. Very few theaters consistently offer a true,

sensory-friendly performance. The only theater company in the DMV area (that I know of) that

consistently offers relaxed shows is The Kennedy Center.

One of the main reasons institutions do not implement proper accessibility programming,

aside from ignorance or not wanting to, is funding. Funding is a huge issue, especially for

smaller theater companies. Many companies will claim ‘undue burden,’ yet auditors will look at

the entire institution’s budget to determine whether it’s undue burden, not just the accessibility or

audience services department. There are also hundreds, if not thousands, of grants and other

monetary programs that give funding for accessibility purposes. Since most theaters are non-

profit, most also have a grant writer or someone in the development department that has

experience with grant proposals so applying for funding shouldn’t be an excuse. Sometimes,

providing affordable accessibility requires creative problem solving or finding alternatives

approaches. For example, when I was accessibility coordinator for a theater, we used a tablet

management software program and a PowerPoint to provide CC for every performance. The

other, more expensive option was to use a program called GalaPro. Although GalaPro is used on

Broadway and by many larger theaters, popularity does not equate to quality, nor does it mean

it’s the best match for your theater. The tablet management software was a one-time payment of

a few hundred dollars, while GalaPro requires a subscription that starts at a few thousand dollars.
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Providing good accessibility programming requires time, work, and creative thinking –

but so does creating good theatre. Good theatre can spark discussions that lead to community

events and relationships. Good theatre is a part of the larger culture, where active participation

and inclusion is integral for people – regardless of disability status – to have a healthy lifestyle

(Skulski et al., 2002, p. 20).

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References

Austin, A. (2018). (thesis). Accessibility in the theatre. Retrieved September 27, 2022, from

https://scholarlycommons.obu.edu/honors_theses/651/.

Bevan, R. (2021, January 5). An actor calls for a more accessible and inclusive future in theater.

Retrieved September 27, 2022, from https://www.wbur.org/news/2021/01/05/future-of-

theater-accessibility

Calliste, S. (2018, November 30). Accessibility and the theatre: what’s the problem? Retrieved

October 3, 2022, from https://www.voicemag.uk/feature/4846/accessibility-the-theatre-

whats-the-problem

Fierberg, R. (2017, October 10). Watch the first autistic actor to play Curious incident of the dog

in the night-time's lead role in rehearsal. Playbill. Retrieved October 3, 2022, from

https://www.playbill.com/article/watch-the-first-autistic-actor-to-play-curious-incident-of-

the-dog-in-the-night-times-lead-role-in-rehearsal

Fraser, M. (2017, May 11). Mat Fraser: All theatres should cast at least one disabled actor a

year. Retrieved September 27, 2022, from https://www.thestage.co.uk/opinion/mat-fraser-

all-theatres-should-cast-at-least-one-disabled-actor-a-year

Harris, J. E. (2019). The aesthetics of disability. Columbia Law Review, 119(4), 895–972.

Kelly, N., & Poret, J. (2019, May 30). Disability and management. Retrieved September 27,

2022, from https://howlround.com/disability-and-management

Louise, S., Lipman, N., & Gayer, S. (2021, November 30). How accessible is theatre for

disabled people? Natasha Lipman. Retrieved September 23, 2022, from

https://natashalipman.com/theatre-accessibility-disability/

Malson, M. (2021). A nearly comprehensive guide to creating an accessible theater (thesis).

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Patterson, D. (2020, August 12). This is how we cripped it. Retrieved September 27, 2022, from

https://howlround.com/how-we-cripped-it

Skulski, J. K., Bloomer, R., & Chait, J. (2002, August). Accommodating patrons with

disabilities: A survey of ticket and accommodation policies for performance venues,

theaters and sports arenas. Retrieved September 27, 2022, from http://nca.eppley.org/wp-

content/uploads/2019/10/Accomodating-Patrons-with-Disabilities.pdf