Jack Thorne
Is the fringe a good place for the disability arts? Disability isn’t visible enough in the theatre world generally. A recent survey found only one visibly disabled artist working on “mainstream” stages. That said, the fringe is great at leading revolutions in theatre practice, so next year I hope it finds ways to put on hundreds of disabled shows and start to change this world.
Progress has been pretty limited as far as I can see. Yes, there are some great disabled artists working at the fringe – I’m looking forward to Johnny McKnight’s hilarious Wendy Hoose and Stopgap’s dance programme – but it’s not enough. What would I do? Put together a huge pot of money and give Jenny Sealey, artistic director of Graeae theatre company, the keys to a venue that she could programme as she wished.
What tip would I give to any aspiring disabled artists out there thinking about approaching the festival scene? There’s a brilliant disabled theatre community, so reach out to it and get advice (and get ready for roughing it).
The Solid Life of Sugar Water is at Pleasance Dome until 30 August
Jessica Thom, Touretteshero
Last year was my first Edinburgh festival fringe and I saw more theatre in three weeks than in my whole life. I have Tourette syndrome, a neurological condition that means I make movements and noises that I can’t control, called tics. In addition to saying “biscuit” thousands of times a day, having Tourettes affects my mobility, so I use a wheelchair to get around.
In the past I’ve found it difficult to access live performances because of my tics. Three years ago I vowed never to go to the theatre again after being asked to move from the auditorium to a sound booth halfway through a show.
Thankfully, this was a promise I wouldn’t keep. Instead it sparked the start of my journey to the stage (the only seat in the house I knew I wouldn’t be asked to leave) and led to my show, Backstage In Biscuit Land.
I was warned that Edinburgh’s steep hills, cobbled streets and old buildings made wheelchair access tricky. More frustrating was the lack of cohesive access information and some thoughtless planning. When collecting tickets at one accessible venue, for example, I discovered the temporary ticket hut had been built with steps!
Encouragingly, improving access is something the Edinburgh Festival Fringe Society is taking seriously, highlighted by chief executive Kath Mainland’s comments earlier this year. But this is about more than physical access. Last year I was disappointed that disabled artists weren’t better represented. Audiences were missing out on the vibrant, high quality and gloriously diverse work the disability arts scene offers.
This year, with an increasing number of disabled performers, talks and events supported by Unlimited and initiatives such as the iF Platform, things are improving.
But there’s no time to be complacent. Disability isn’t a niche issue, with almost one-fifth of the UK population identifying as disabled, and the fringe sets an international arts agenda, so it’s vital that it become a world leader in showcasing disability arts and inclusivity.
Difference is brilliant, and I can’t wait to be part of a fringe where it’s visible, audible and celebrated in all its forms. It’s time for disability arts to take centre stage at the fringe.
Backstage In Biscuit Land is at Pleasance Courtyard from 24-30 August
Cian Binchy
This year has seen a great boom in disabled artistic voices at the fringe. It’s brilliant to use this great festival to promote different viewpoints and ideas from all parts of society. But while it seems that people with physical disabilities are getting more support and representation at the fringe, there are still relatively few people with learning disabilities getting work here.
It’s one of the reasons I’m so excited to be here. My show, The Misfit Analysis, is inspired by my experiences of how society sees people with autism and how we’re often dumped into a single group of “vulnerable” or “helpless” people.
I do need some support, but first and foremost I’m a professional artist. Having autism is just part of who I am. The show isn’t a lecture; I take the piss a lot, but I want to open people’s minds to the idea that autism is just one element in someone’s life experience, and that a lot of the time the problem is with how people see disability, not the disability itself.
Support needs for people with learning disabilities are perhaps more complicated than people with physical disabilities (for example, I don’t need a wheelchair or a sign language interpreter) but it helps to have a great team behind me and to be at a supportive venue.
Access All Areas runs a performance-making diploma for adults with learning disabilities at The Royal Central School of Speech and Drama, from which I graduated last year. Having access to professional programmes such as these and the respect of the arts industry is what will really make the fringe more open to talented learning-disabled artists.
UK theatre is slowly becoming more accessible and aware. Now it’s up to the great performers and writers with learning disabilities to take things forward. For anyone who wants to make a show here, I’d say get involved in a top-class training programme or company, and keep pushing yourself to be better. Then, hopefully, the mainstream will sit up and take notice.
The Misfit Analysis is at Pleasance Courtyard from 23-31 August
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