A relaxed approach to theatre

Kirsty Hoyle is project manager of the Relaxed Performance Project, which has worked with nine theatres across the UK to put on performances that can be enjoyed by people with autism or learning disabilities and their families. She is now putting together a good practice guide with help from The Prince’s Foundation for Children & the Arts. Kirsty hopes that soon all theatres will feel confident about staging relaxed performances.

Why do we need relaxed performances?

If you are autistic or have learning difficulties and you need to get up and leave a performance because you have anxiety problems or you need to shout or talk about what is going on, or share your feelings it’s really difficult. You can’t easily go to the theatre or the cinema if you have someone in your family who has autism or a communication problem.

How does a relaxed performance differ from a regular show?

In relaxed performances you can eat and drink, you can have your iPad and iPhone on and you won’t be told off for talking. You can move around the auditorium, even go onto the stage. There may be changes to lighting and other effects.

How do you put together a relaxed performance?

Firstly, I go out and sell the idea to theatres. For example, the Royal Shakespeare Company put on a relaxed performance of Romeo and Juliet, and the National Theatre staged a relaxed performance of the Curious Incident of the Dog in the Night Time in October last year.

It is important to programme the performances at times when families can come, as relaxed performances are about offering opportunities to families to enjoy theatre together.

Then there is training. I did a lot of work with box office staff at the National Theatre around terminology, so if a mother rings up and says her son has Asperger’s they know what she is talking about.

We create a visual story and send it out to the audience before the performance. A visual story tells them what to expect. There are pictures of the cast and the stage. It also contains information about the moments of the show that might create anxiety, such as the stuffed dead dog in Curious.

Closer to the performance I work with front of house staff and talk to them about the changes there will be, and the kind of behaviours to expect. There may be a severely disabled person vocalising and groaning. 

It’s great when you go to a relaxed performance and everyone is shouting and screaming and expressing their enjoyment and nobody gives a hoot.

I also meet the cast. We have a re-rehearsal, so we can look at lighting, entrance cues, walking through the audience, anything we want to take out or change. The actors tell us the relaxed performances really come alive for them.

What about the future?

We hope the shows will enable more families to enjoy their local theatres. All of the theatres we have worked with are doing more relaxed performances. I hope that when we release our evaluation many theatres will no longer need my assistance. Relaxed performances should not feel like a concession, but a regular part of a theatre’s schedule.

Stay up to date with the Relaxed Performance Project at: facebook.com/RelaxedPerformanceProjectTo find out about the work of The Prince’s Foundation for Children & the Arts visit: childrenandarts.org.uk 

Story published in Interested Women, June 25, 2013