Theatre and disability is a subject focusing on the inclusion of disability within a theatrical experience, enabling cultural and aesthetic diversity in the arts. Showing disabled bodies on stage can be to some extent understood as a political aesthetic as it challenges the predominately abled audience's expectations as well as traditional theatre conventions. However, the performance of disabilities on stage has raised polarising debates about whether the performers are exposed and reduced to their disability or whether they have full agency of who they are and what they represent.
History
Disability theatre formally arose out of the disability arts and culture movement in the 1980s in the United States and the United Kingdom.[1] There were, however, some disability-focused theatre companies predating this movement, including the National Theatre of the Deaf, founded in 1967.[2] Notable early disability theatre companies include Graeae Theatre Company (1980 – UK),[3] Theatre Terrific (1985 - Canada),[4] Back to Back Theatre (1988 - Australia)[5] and Phamaly Theatre Company (founded in 1989).
There were some disabled actors such as Esmond Knight (UK, 4 May, 1906 – 23 February, 1987) and Lionel Barrymore (US, April 28, 1878 – November 15, 1954) already working at the top of their profession, often playing both disabled and non-disabled characters, but thew were able to access opportunity because of privileged circumstances as well as talent. Most opportunity, of which there was very little, came through stage comedy or traditions such as pantomime.
Political change
Change does not happen easily and the campaign for political change within society, Nothing About Us Without Us, is as relevant in theatre as it has been in TV, Film, Politics and Design. Campaigns from Disability Rights UK, Disability Arts Alliance,[6] UK Disability Artists Alliance, Disability Artists Community Network (DANC)[7] and others have campaigned for the creative arts to simply be more open to new ideas when it comes to disability. From a creative standpoint they focus on two basic premises that disabled actors and creatives should be the first choice for telling stories about disability, and that disability should not be an unconscious bias barrier to accessing any role in any play.
Disabled mimicry, erasure and absence has no place in the arts. To bring about its end is an industry wide task - inciting best practice guidelines and multi-disciplinary non-hierarchical collaboration…. These casting decisions, and their detrimental effect, have long since been condemned. Disabled artists have been campaigning for 50 years, incrementally growing from the generations before. The work done by our predecessors has allowed this conversation to become mainstream. But as our collective voice grows, it becomes harder to ignore. Excerpt from a public statement by Disabled Artists Alliance in 2024.
This campaigning has become more publicly visible especially in the UK with mainstream news vendors such as The Guardian,[8][9] The Economist,[10] the BBC,[11][12] PBS News,[13] HuffPost[14] and The Stage[15][16] have published articles on the historic exclusion of visible disability both from stage and screens, as well as the need for change from within the industry.
Disability as a creative opportunity
The role of an actor is to present interesting choices to the director, and the lived experience of someone with a disability is always an interesting creative choice. For every visible disability there is always a backstory and that adds subtext to any role whether it is written as disabled or not. Shifting attitudes in the industry from seeing disability as a diversity box to be ticked to a creative opportunity is a slow and ongoing process, however as a deeper understanding of unconscious biases towards disability is gaining traction, and more directors are understanding that disability presents creative possibilities beyond telling stories about disability.[17][18][19][20]
Casting without disability bias
"How does a character in the script enter the stage?"
This is a question regularly used to analyse unconsciously biased or ableist decisions and attitudes in any casting process. The issue that it raises is why if it is not stated how someone enters the stage, is there a presumption that they walked? This is a similar thought process behind what is often termed as colour-blind casting, where the presumption is removed from every character in a script that they are white.[21]
Roughly 1 in 12 people in the world has a physical disability, so if there were no biases 1 in 12 characters we see on stage would have a visible disability regardless of whether the script says they do or not. In reality virtually no mainstream productions of a play that isn't in some way about disability have ever reached that ratio. Having said that theatre companies such as the Royal Shakespeare Company and Shakespeare's Globe Theatre have put in place casting and diversity policies that are moving in the right direction.[22]
Casting disabled actors as a process has two creative lenses to consider:
- Disability and incidental portrayal. Despite most characters in most plays being able to be played by disabled actors, with a very few exceptions, disabled actors are rarely given the opportunity to portray them. There is an unconscious willingness to not allow disabled actors tell anything other than stories about disability. If this was applied to any other diversity group this would be met with outrage, and yet disability is decades behind the equality curve in this respect. A question that can be used at the start of the process when looking at each character in isolation is, "why can't a disabled actor be cast in this role?" If you can't find a very good reason then follow it up with, "what would disability bring to this role?" This will give the director and even the marketeers an opportunity to think about how disability could add a dimensions not otherwise considered. Audiences can find disability challenging, but they are never board by it, which is why so many disability stories win TV, theatre and film awards.
- Disability and authentic portrayal. There is an argument in the acting profession that any actor should be allowed to play any role, and there is a good point about anti-literalism, however like all ideas there are issues and caveats. This argument was made by an Artistic Director when she cast herself in the role of Richard III in 2024. This works if every actor has equal opportunity to every role and that there is unconscious bias in the industry. The backlash from over 300 professional actors, theatre professionals and theatre companies, who collectively called themselves the Disabled Artist's Alliance[23] as well as the actors' union Equity[24] highlighted that without equal opportunity in the industry this was a highly privileged perspective. The argument was broken down by London theatre blogger Micky Jo.[25] This situation raised interesting issues not only about prejudice across the industry, but also about the rights of disabled actors to bring their lived experiences to the creative processes, to have the right to tell disabled stories, for disability not to be erased from any character and for this to be seen as worthwhile rather than an act of worthiness.
What is interesting with both of these is they deal with the subject of "otherness". To not incidentally portray disability is a way of saying that disabled people are no more than their conditions, and to not allow disabled actors to tell disabled stories denies them their own identity.[26][27]
Equity UK have created a more in-depth guide to the access practicalities of inclusive casting processes.[28]
Disability dramaturgy
This is a role that is very similar to a regular dramaturge. It can be used in any theatre, TV or film productions that are creating, casting or telling a story about disability, or are exploring the possibility of casting disabled actors into mainstream roles. The engagement of a disability dramaturge can happen at the start of the casting process to help directors identify characters that could be played by visibly disabled actors, and discuss ideas that come from potential choices and the lenses that brings to the meaning of the play, TV drama or movie. The engagement should progress beyond casting in a traditional way working with the director and the actors, focusing on aspects storytelling and meaning to ensure authenticity and creative opportunity stays forefront with regards to visible disability.
This is a creative role and should only be carried out by a person with experience as either a professional stage or screen actor or theatre director, and who has lived experience as a visibly disabled or Deaf person. This role is not to be confused with a Disability or Accessibility Consultant as these are more functional roles focusing on practical considerations, communication strategies and organisational culture, rather than the creative process.
Examples of scripted disabled characters
Laura in The Glass Menagerie
Tennessee Williams explains that the character Laura (The Glass Menagerie) has grown up with a disability: "A childhood illness has left her crippled, one leg slightly shorter than the other, and held in a brace. This defect need not be more than suggested on the stage."[29] This character description is vague enough to allow the director to make their own decision as to how they want to portray Laura; however, this can be seen as a missed creative opportunity as disability adds depth to her character.[30]
Nessarose in Wicked
The musical Wicked by Stephen Schwartz and Winnie Holzman has been running on Broadway since 2003, and has launched multiple national tours and productions worldwide. In the musical, the character of Elphaba has a sister who is a wheelchair user named Nessarose. She was disabled at birth due to a congenital birth defect, and goes through the production inhabiting the role of villain.[31] The production has come under fire for not casting a physically disabled actor in the role.[32]
Duke of Gloucester/The King in Richard III
In Shakespeare's play Richard III, ableism is a central theme as attitudes and prejudice drive Richard to become who he becomes. However brilliant the play is, coming from a non-disabled playwright and yet being able to deeply understand the disabled lived experience, many productions either misinterpret disability as a device to emphasise his darker deeds, or they miss the point altogether and can end up with a ableist production of a play about ableism.[33][34]
Joseph Merrick in The Real and Imagined History of The Elephant Man, or previously John Merrick in The Elephant Man
Plays about important disabled historical figures can be fraught with difficulties when a non-disabled actor is cast. Understanding what it is to be a disabled person is far more than portraying a condition and how Joseph Merrick's story has evolved from John Merrick in The Elephant Man, a play that drifts from his story missing not only much of who he was (even his name is wrong) and what it is to be a disabled person, to a play that dives deeply into the lived experience. This second play has had two professional productions to date in Australia and the United Kingdom. The Real and Imagined History of the Elephant Man by Tom Wright premiered on 4 August 2017,[35] starring Daniel Monks in the title role. The cast also featured Paula Arundell, Julie Forsyth, Emma J. Hawkins, and Sophie Ross. The play toured the UK in 2023, directed by Stephen Bailey and starring Zak Ford-Williams as Joseph.[36] This cast of this production included Annabelle Davies and Nadia Nadarajah.
Other examples
Other examples of where disability or metaphors for the disabled lived experience are at the core of a character are:
- Meshak Gardiner in Coram Boy
- Gregor in The Metamorphosis
- Colin in The Secret Garden
- The Creature, Igor and De Lacey in Frankenstein
- Claudius in I, Claudius[37]
- Sarah Norman in Children of a Lesser God
- Tiny Tim in A Christmas Carol
- Tiresias in Oedipus
- Polyanna in Polyanna
- Hal Jeffries in Rear Window
- Artie in Glee
- Quasimodo in The Hunchback of Notre Dame
- Colin in The Secret Garden
- Helen in The Miracle Worker
- Tommy in The Who's Tommy
- John in Cost of Living
- Christopher in The Curious Incident of the Dog in the Night-Time
- Jess in All of Us
- Emily and Dominic in A Nervous Smile
- Ignacio, Carlos and the other boys in In the Burning Darkness
- Susy in Wait Until Dark
- Dom in I Wont Dance
- Billy in Tribes
- Laura, Max, Sally and Dr Walters in Sweet Nothing in My Ear
- Franklin D. Roosevelt in Sunrise at Campobello
- Shawn in Stuck in Neurtal
- Month in The Rules of Charity
- Jimmy in Bubble Boy
- Blanche in Whatever Happened to Baby Jane
- Arnold, Lucien Sheila, Barry and Norman in The Boys Next Door
- The Cast in The Blind
- Molly in Molly Sweeney
Some of Samual Beckett's plays, such as Endgame, have disability as an underlying characteristic, and in her book, Samuel Beckett and Disability Performance, author Hannah Simpson reveals how Beckett's theatre compulsively interrogates alternative embodiments, unexpected forms of agency, and the extraordinary social interdependency of the human body.
Disabled talent and theatre companies
One excuse used for either casting non-disabled actors in disabled roles, or resisting casing disabled actors into roles that could be played as disabled, is that there is a lack of talent to draw from. The disability theatre movement has been training actors since the mid 1980s and there are also disabled actors accessing formal training in drama schools. Organisations such as the UK's National Theatre has launches a service for casting directors called Profile[38] to enable access professional disabled actor details and a showreel in the form of a short performance. IMDB has lists of professional disabled actors with visible disabilities.[39][40]
Notable living stage actors and production reviews
The following examples of actors and accolades provides evidence that casting disabled actors in both disabled and non-disabled roles is not an act of worthiness but a real creative opportunity for any production.
- Nadia Albina, A Streetcar Named Desire,[41] English,[42] Othello,[43] Merchant of Venice[44]
- Liz Carr, Unspeakable Conversations,[45] The Normal Heart,[46] Assisted Suicide[47]
- Peter Dinklage, Cyrano,[48] Richard III[49]
- Daneka Etchells, Much Ado About Nothing,[50] Brassed Off[51]
- Madison Ferris, All of Me,[52] The Glass Menagerie[53]
- Zak Ford-Williams,[54] The Real & Imagined History of The Elephant Man,[55] A Christmas Carol: A Ghost Story[56]
- Mat Frazer,[57] Richard III,[58] Unspeakable Conversations,[45] Beauty and the Beast[59]
- Alison Halstead, The Cherry Orchard,[60] Future Bodies,[61] Hole,[62] The House Of Bernarda Alba[63]
- Kate Hood, The Cost of Living[64]
- Arthur Hughes, Richard III,[65] The Dutchess of Malfi,[66] La Cage Aux Folles,[67] One Flew Over The Cuckoo's Nest[68]
- Melissa Johns, One Flew Over The Cuckoo's Nest,[68] Henry V[69]
- Francesca Martinez,[70] All of Us[71]
- Francesca Mills,[72] The Dutchess of Malfi,[73] The American Clock,[74] Mallory Towers[75]
- Daniel Monks,[76] Richard III,[77] The Seagul,[78] The Real and Imagined History of the Elephant Man[79]
- Tom Mothersdale, Richard III,[80] London Tide,[81] Love and Other Acts of Violence[82]
- Nadia Nadarajah,[83] Anthony and Cleopatra,[84] Grounded,[85] Loves Labour Lost,[86] A Midsummer Night's Dream[87]
- Sophie Leigh Stone, Frozen,[88] Mother Courage and Her Children,[89] Woman of Flowers[90]
- Katy Sullivan, The Cost of Living[91]
- Amy Trigg,[92] The Little Big Things,[93] Reasons You Should(n't) Love Me,[94] The Taming of the Shrew,[95] The Glass Menagerie[96]
Advice for disabled actors
In recent years the intake of disabled students has increased, although for some after years of actively blocking disabled student applications they are now actively looking for disabled students as attitudes in the theatre, TV and film industries are beginning to change.[97] To support emerging talent publications such as The Actors' & Performers' Yearbook now provide guidance specifically targeted at young disabled actors.[98]
Contemporary disability lead theatre companies
Since the 1980s there has been a movement focusing primarily on telling disability stories. From this several well funded and popular professional theatre companies have formed and this has become an important branch of theatre making. This is particularly significant because these have become a training ground for disabled actors, directors, producers, writers that have been excluded from mainstream channels for training, such as drama schools.
- Back to Back Theatre
- Definitely Theatre[99]
- Graeae Theatre Company
- Mind The Gap
- National Theatre of the Deaf
- Open Circle Theatre[100]
- Phamaly Theatre Company
- Ramps On The Moon[101]
- Theatre Terrific
- VitalXposure[102]
References
- ^ Johnston, Kirsty (2016). Disability Theatre and Modern Drama: Recasting Modernism. Bloomsbury. p. 21. ISBN 978-1-4725-1035-8.
- ^ Kochhar-Lindgren, Kanta (2013). "Between Two Worlds: The Emerging Aesthetic of the National Theater of the Deaf". In King, Kimball; Fahy, Tom (eds.). Peering Behind the Curtain : Disability, Illness, and the Extraordinary Body in Contemporary Theatre. Routledge. p. 3. ISBN 978-0-415-92997-4.
- ^ Love, Catherine (25 February 2016). "Access all areas: the plays that took captioning and signing to their hearts". The Guardian. Retrieved 13 March 2021.
- ^ Kuppers, Petra (2017). Theatre and Disability. MacMillan Education. p. 35. ISBN 978-1-137-60572-6.
- ^ Johnston, Kirsty (2016). Disability Theatre and Modern Drama: Recasting Modernism. Bloomsbury. p. 27. ISBN 978-1-4725-1035-8.
- ^ "We Shall Not Be Removed – UK Disability Arts Alliance". Retrieved 25 August 2024.
- ^ "TripleC - The Special Award". www.bafta.org. 14 April 2022. Retrieved 25 August 2024.
- ^ Dow, Steve (7 July 2024). "Ready, willing and disabled: the Australian actors campaigning for more roles – and better training". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ Flynn, Isabel (27 January 2020). "'Access is a human right': how deaf and disabled people are transforming theatre". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ "Bringing disability to the heart of theatre". The Economist. ISSN 0013-0613. Retrieved 25 August 2024.
- ^ "Hollywood 'shuns disabled people'". BBC News. Retrieved 25 August 2024.
- ^ Ryan, Anya (3 April 2023). "Disabled artists talk about their experiences working in TV: 'There's still a lot of work to do'". BBC Three. Retrieved 25 August 2024.
- ^ "On screen and on stage, disability continues to be depicted in outdated, cliched ways". PBS News. 2 November 2020. Retrieved 25 August 2024.
- ^ "Emma MacLean: How Disability Is Represented in Theater". HuffPost. 29 May 2014. Retrieved 25 August 2024.
- ^ "Disabled creatives 'robbed of dignity and independence' by lack of access". The Stage. Retrieved 25 August 2024.
- ^ "Mat Fraser: All theatres should cast at least one disabled actor a year". The Stage. Retrieved 25 August 2024.
- ^ Wilson, Jeffrey R. (1 June 2017). "The Trouble with Disability in Shakespeare Studies". Disability Studies Quarterly. 37 (2). doi:10.18061/dsq.v37i2.5430. ISSN 2159-8371.
- ^ "Enjoying: Disability as a Creative Force". The Hastings Center. Retrieved 30 August 2024.
- ^ "Disability inclusion is spurring creativity". NellyRodi. 16 December 2020. Retrieved 30 August 2024.
- ^ "Moving from Disability Visibility to Disability Artistry". HowlRound Theatre Commons. 20 October 2022. Retrieved 30 August 2024.
- ^ "Inclusivity & Barrier-Free Experiences | Interbrand Services". Interbrand. Retrieved 30 August 2024.
- ^ "Equity, Diversity, Justice and Inclusion | Royal Shakespeare Company". www.rsc.org.uk. Retrieved 24 August 2024.
- ^ "Shakespeare's Globe under pressure to recast non-disabled Richard III". The Stage. Retrieved 24 August 2024.
- ^ "'Below standards': Equity wades in on Richard III casting row". The Stage. Retrieved 24 August 2024.
- ^ MickeyJoTheatre (3 February 2024). ableist Richard III casting drama at the Globe: explained | why disability representation matters. Retrieved 24 August 2024 – via YouTube.
- ^ Good Morning Britain (12 February 2024). Casting Call: Disabled Actors for Disabled Roles?. Retrieved 25 August 2024 – via YouTube.
- ^ "Disability, Identity and Difference - Tom Shakespeare". www.deficienciavisual.pt. Retrieved 30 August 2024.
- ^ "Casting guide for deaf, disabled and neurodiverse dancers". Equity. Retrieved 25 August 2024.
- ^ Williams, Tennessee (1945). The Glass Menagerie.[page needed]
- ^ "Re-membering the Canon". HowlRound Theatre Commons. 9 May 2017. Retrieved 24 August 2024.
- ^ Haller, Beth (15 March 2004). "Wicked". Disability Studies Quarterly. 24 (2). doi:10.18061/dsq.v24i2.495.
- ^ Wilders, David (10 February 2023). "How Wicked gets representation wrong". Raidió Teilifís Éireann (RTE).
- ^ Simpson, Hannah (30 January 2024). "'I'm done with pretenders': disabled actors on reclaiming Richard III". The Guardian. ISSN 0261-3077. Retrieved 24 August 2024.
- ^ Williams, Katherine Schaap (2 October 2009). "Enabling Richard: The Rhetoric of Disability in Richard III". Disability Studies Quarterly. 29 (4). doi:10.18061/dsq.v29i4.997. ISSN 2159-8371.
- ^ "Stories of M - The Real and Imagined History of the Elephant Man". Stories of M. Retrieved 24 August 2024.
- ^ "Interview - Zak Ford-Williams - Taking on the Elephant Man - Able Magazine". ablemagazine.co.uk. Retrieved 24 August 2024.
I think there's a slight advantage, because I'm so used to being very aware and having to control my body and my mouth. When I have to change my physicality or my voice I have, I feel, a great awareness to begin with.
- ^ "Production of I Claudius | Theatricalia". theatricalia.com. Retrieved 24 August 2024.
- ^ "ProFile Performers". ProFile Performers. Retrieved 24 August 2024.
- ^ "Actors who are either Deaf, have a Visible Disability or Short Stature". IMDb. Retrieved 24 August 2024.
- ^ "Actors with Physical Disabilities". IMDb. Retrieved 25 August 2024.
- ^ Gardner, Lyn (2 June 2014). "My disability helped me understand Blanche DuBois, says Streetcar actor". The Guardian. ISSN 0261-3077. Retrieved 24 August 2024.
- ^ Loveridge, Lizzie (26 June 2024). "REVIEW: English, Kiln (2024) | TheatreVibe". Retrieved 24 August 2024.
- ^ Gardner, Lyn (7 March 2017). "Othello review – brutal, candlelit tragedy in a man's world". The Guardian. ISSN 0261-3077. Retrieved 24 August 2024.
- ^ "REVIEW: The Merchant Of Venice, Royal Shakespeare Theatre ✭✭✭✭✭ - Newsplate". britishtheatre.com. Retrieved 24 August 2024.
Nadia Albina, superb as the delightful Nerissa
- ^ a b Meany, Helen (19 July 2024). "Unspeakable Conversations review – Liz Carr and Mat Fraser's straight talk is enthralling". The Guardian. ISSN 0261-3077. Retrieved 24 August 2024.
- ^ "The Normal Heart: an impassioned revival". Culture Whisper. Retrieved 24 August 2024.
- ^ "Guest Review: Assisted Suicide: The Musical at Southbank Centre". Exeunt Magazine. Retrieved 24 August 2024.
- ^ "Thoughts On New Musical 'Cyrano' With Peter Dinklage". Showriz. 24 May 2019. Retrieved 24 August 2024.
- ^ Rooney, David (12 October 2004). "Richard III". Variety. Retrieved 24 August 2024.
- ^ Ahad, Nick (14 September 2022). "Much Ado About Nothing review – hilarious, heartfelt show is everything". The Guardian. ISSN 0261-3077. Retrieved 24 August 2024.
Daneka Etchells is the most compelling Beatrice you might ever see in an exceptional production of the romantic comedy
- ^ "'Brassed Off' At Theatre By The Lake". www.mag-north.com. Retrieved 25 August 2024.
- ^ Considine, Allison (14 May 2024). "'All of Me' review — a funny and moving boy-meets-girl story". New York Theatre Guide. Retrieved 24 August 2024.
- ^ Soloski, Alexis (10 March 2017). "The Glass Menagerie review – Sally Field returns to Broadway in style". The Guardian. ISSN 0261-3077. Retrieved 24 August 2024.
- ^ "Interview - Zak Ford-Williams - Taking on the Elephant Man - Able Magazine". ablemagazine.co.uk. Retrieved 25 August 2024.
- ^ philiplowe (21 September 2023). "Review: The Real and Imagined History of The Elephant Man. Nottingham Playhouse". East Midlands Theatre. Retrieved 24 August 2024.
- ^ "Review: A Christmas Carol – A Ghost Story at Nottingham Playhouse – 'Remarkable debuts'". The Stage. Retrieved 25 August 2024.
- ^ Wiegand, Chris (21 July 2020). "Mat Fraser: 'I'm hardcore – I want equality and I'm not going to stop'". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ Hickling, Alfred (11 May 2017). "Richard III review – Mat Fraser proves a brilliant villain for Northern Broadsides". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ Gardner, Lyn (10 December 2013). "Beauty and the Beast – review". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ Lawson, Mark (14 October 2021). "The Cherry Orchard review – Ian McKellen is brilliantly poignant in resonant adaptation". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ Staff, M. M. (4 October 2018). "Review: Future Bodies @ HOME, Manchester". Mancunian Matters. Retrieved 25 August 2024.
- ^ Billington, Michael (5 December 2018). "Hole review – history of female empowerment with heavy gravity". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ Chapman, John (14 August 2020). "The House Of Bernarda Alba (Online review)". 2nd from Bottom. Retrieved 25 August 2024.
- ^ Brown, Phil (22 June 2024). "Love and the Cost of Living". InReview. Retrieved 25 August 2024.
- ^ Akbar, Arifa (1 July 2022). "Richard III review – Shakespeare's supervillain breezes through the bloodbath". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ "'The Duchess of Malfi' review – Strong performances in otherwise straight retelling". Liam O'Dell. 1 March 2024. Retrieved 25 August 2024.
- ^ "Review: La Cage Aux Folles (The Play), at Park Theatre". Camden New Journal. Retrieved 25 August 2024.
- ^ a b "Theatre review: One Flew Over the Cuckoo's Nest at Crucible Theatre". British Theatre Guide. 7 June 2018. Retrieved 25 August 2024.
- ^ Evans, Suzy (3 March 2022). "'Henry V' at Donmar review: Kit Harington stars in this timely production". London Theatre. Retrieved 25 August 2024.
- ^ Akbar, Arifa (28 July 2022). "Francesca Martinez: 'It's hard living in a world that can't handle difference'". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ Curtis, Nick (5 August 2022). "All of Us at the National Theatre review: compelling and full of rage". Evening Standard. Retrieved 25 August 2024.
- ^ Segalov, Michael (7 April 2024). "'Expect more from me': actor Francesca Mills on Shakespeare and shifting expectations". The Observer. ISSN 0029-7712. Retrieved 25 August 2024.
- ^ "The Duchess of Malfi, Sam Wanamaker Playhouse review - the good end badly, but act best". theartsdesk.com. 5 March 2024. Retrieved 25 August 2024.
- ^ London, Secret (7 March 2019). ""It's A Dancing Delight!" Francesca Mills, Of The American Clock, At The Old Vic". Secret London. Retrieved 25 August 2024.
- ^ Mantle, Adrian (26 July 2019). "Review: MALORY TOWERS at Bristol Old Vic". StageTalk Magazine. Retrieved 25 August 2024.
- ^ "Daniel Monks Talks Through His Career From Pulse to In the Room Where He Waits in This Interview - The Curb". 28 February 2024. Retrieved 25 August 2024.
- ^ Billington, Michael (13 December 2019). "Teenage Dick review – Daniel Monks is a dazzling high-school Richard III". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ mrmonstagigz (2 July 2022). "THEATRE REVIEW: The Seagull starring Emilia Clarke, Daniel Monks & Indira Varma at the Harold Pinter Theatre". monstagigz. Retrieved 25 August 2024.
- ^ Simmonds, Diana. "The Real And Imagined History Of The Elephant Man - Melbourne | Stage Noise - Diana Simmonds". www.stagenoise.com. Retrieved 25 August 2024.
- ^ Wyver, Kate (7 March 2019). "Richard III review – Tom Mothersdale hypnotises as the unhinged overlord". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ mrmonstagigz (12 April 2024). "THEATRE REVIEW: London Tide at the National Theatre". monstagigz. Retrieved 25 August 2024.
- ^ Akbar, Arifa (17 October 2021). "Love and Other Acts of Violence review – mesmerising moments amid the darkness". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ Segalov, Michael (4 August 2024). "'We need to be seen': Nadia Nadarajah on portraying Shakespeare's greatest heroines – as a deaf actor". The Observer. ISSN 0029-7712. Retrieved 25 August 2024.
- ^ "Antony and Cleopatra, Shakespeare's Globe review - Egypt in sign language, Rome in pale force". theartsdesk.com. 19 August 2024. Retrieved 25 August 2024.
- ^ Gardner, Lyn (5 November 2015). "Grounded review – Deafinitely Theatre's drone-pilot drama has double impact". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ "Love's Labour's Lost". Exeunt Magazine. Retrieved 25 August 2024.
- ^ "A Midsummer Night's Dream | Discover". Shakespeare's Globe. Retrieved 25 August 2024.
- ^ Costa, Maddy (6 March 2014). "Frozen review – 'Sharpens your hearing by making you see language'". The Guardian. ISSN 0261-3077. Retrieved 25 August 2024.
- ^ "Review: Mother Courage and her Children, National Theatre". There Ought To Be Clowns. 19 September 2009. Retrieved 25 August 2024.
- ^ "Woman of flowers". kaiteoreilly. Retrieved 25 August 2024.
- ^ White, Abbey (15 November 2022). "Katy Sullivan on Saying Goodbye to Her History-Making Portrayal in Broadway's 'Cost of Living'". The Hollywood Reporter. Retrieved 25 August 2024.
- ^ "Amy Trigg urges actors to 'pass on' roles they are not appropriate for". The Stage. Retrieved 25 August 2024.
- ^ Gilpin, Debbie. "Review: THE LITTLE BIG THINGS, @sohoplace". BroadwayWorld.com. Retrieved 25 August 2024.
- ^ "Review: Reasons You Should(n't) Love Me (Kiln Theatre)". 27 May 2021. Retrieved 25 August 2024.
- ^ Beer, Mary (8 November 2019). "The Taming of the Shrew - Royal Shakespeare Company - The Barbican". LondonTheatre1. Retrieved 25 August 2024.
- ^ "Theatre review: The Glass Menagerie at Nottingham Playhouse". British Theatre Guide. 11 March 2016. Retrieved 25 August 2024.
- ^ "Disability in drama schools – study reveals extent of under-representation". The Stage. Retrieved 24 August 2024.
- ^ "Advice for disabled actors from Zak Ford-Williams, from the Actors' & Performers' Yearbook 2024 | Actors and Performers". 10 November 2023. Retrieved 24 August 2024.
- ^ "Deafinitely Theatre". Deafinitely Theatre. 18 September 2017. Retrieved 24 August 2024.
- ^ "welcome to open circle theatre". Open Circle Theatre. Retrieved 24 August 2024.
- ^ "Welcome to Ramps on the Moon". Ramps. Retrieved 24 August 2024.
- ^ "Home". Vital Xposure. Retrieved 24 August 2024.