THE MOST VULNERABLE: People with learning disabilities in residential care during the Coronavirus pandemic.

“Corona virus may force doctors into deciding who lives or dies.”

New York Times

 

“We are making difficult choices.”

Italian Doctor.

 

“Many loved ones will die.”

Boris Johnson

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The plan this weekend had been to visit my sister Fiona, a 55-year-old woman with Downs Syndrome, at her residential care home in Kent.  These visits have taken place once or twice a month for the past 35 years and the format I undertake with my 91-year-old mother is a well-oiled routine, a sequence of familiar actions punctuated by stress relieving rows. A standard Sunday pick up – these days – shapes up thus; I drive us both through winding B roads, bickering with ascending intensity until muted by Elaine Paige’s romp through the musicals on Radio 2. Wine gums are chewed, pedestrians along the route doing out of the ordinary things are remarked upon, houses for sale are noted, houses desired smiled at, driving choices criticised and news bulletins tuned into on the hour. Eventually, with loosened fillings and raised blood pressure, we swoop down a twisting lane which opens out into a stunningly beautiful valley, a garden of England picture postcard arrangement of oaks and dirty sheep and rhododendrons and we arrive. The care home has 70 plus residents with severe learning disabilities, living in groups of between 6 and 8, in an assortment of 1970’s chalet style bungalows, most named after a bird and a couple named after trees- perhaps after all the accessible bird names had been used up, the kind of distracting rumination I’ll use to diffuse the inevitable pre doorbell argument and in we go.  Over the three decades that Fiona’s been resident in the house there have been countless carers on the staff, some brilliant and some appalling, a couple of eye wateringly successful thieves who helped themselves to residents’ money and belongings but in the main hard working, poorly paid and undertrained people who want to do the right thing. Fiona is found either in the living room or conservatory, she grunts an acknowledgement, her cheek is offered and kisses given, fellow residents either ignore or ferociously engage me in conversation and after some encouragement we all make our way into her bedroom. Medication is signed for and I pack her bag while my mother converses with a carer, enquiring after activities undertaken, pottery, trips to the pub, her weekly attendance at a group in a neighbouring town and whether Fiona needs anything to be purchased. Invariably there is something required and this younger sister groans at the idea of wandering around Matalan resulting in another row as we leave the house. However, Fiona gets to spend time with Mum and for both of them this is precious and for me it’s precious too in a slightly different way because in between the rows and the reluctance love exists and there’s always a hollow feeling on the return journey and on leaving her again. It’s painful and it takes trust, which walks hand in hand with its darker companion – fear.

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Last Wednesday, which already seems an epoch ago in terms of the coronavirus crisis, it had become clear that the elderly and those with pre-existing health conditions and, like my sister, with severe disabilities, were most vulnerable to infection. I had a cold and knew that both my sister and my mother needed to be protected from my germs but, more crucially I was concerned about my sister becoming ill while at home with us both. She’d be unlikely to co-operate with medical intervention, could deteriorate very quickly and then wouldn’t be able to return to her care home. Although my mother is a robust and pretty healthy 91-year-old I was aware that the ‘risk’ box in this particular swat analysis – headlined the pros and cons of Fiona coming home for a weekend – screamed in a bold red font.

I emailed the care manager and suggested that we postpone our planned trip this weekend, that Fiona stay where she is and that we would re-arrange at a later point. I asked if perhaps we could Skype or What’s App video call so that vital contact can be maintained.  Fiona’s limited communication and speech means that without contact and re-assurance she can quickly fall into a very lonely and lost place. Her understanding exceeds her ability to express but how could she possibly understand that her mother and sister have just disappeared? Except to imagine the worst, she has like all of us experienced death and deep grief but to go through that due to a lack of contact is a horrific thought. The reply to my email came quickly, I’d pre-empted the home’s plans to lockdown which it then proceeded to do and we were assured that Fiona’s safety was a priority.

home

The concern for Fiona and her fellow residents is twofold. One is of direct infection with Covid-19 and the other is the fallout from staff sickness. The doors have shut to the outside world in terms of family visits but care staff are people too and it’s likely that at some point the virus will enter this enclosed population. In common with many people with Downs Syndrome Fiona has always struggled with colds, with breathing and the Coronavirus might affect her very badly. She needs twenty-four-hour care, help to dress, eat, wash, go to the toilet and make choices. In an emergency situation, if staff numbers fall drastically and residents are also ill then what happens? What choices are made and by whom? Has all contact with the outside world and all activities stopped for all residents and what’s the effect of that? Do doctors come into the home? Do residents go into hospital? Are we freeing up ICU beds in order to treat people with severe learning disabilities?

I don’t want to ask those questions because I fear the answers.

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Reports over recent days suggest care homes being given ‘emergency’ powers to make decisions for their residents, in camera. Where once there was scrutiny and transparency with regard to the care of the most vulnerable members of society now the drawbridges have come up and the curtains have been firmly closed, so how do we trust the right decisions to be made?

I’ve written about the Nazi holocaust of people with disabilities in my play Hypothermia and find the parallels in language and inaction of that de-sensitising process with our current crisis chilling.

What we can do…

Individual and collective action may help.

I’m formulating a letter and mechanism which means all relatives attached to residents at my sister’s care home have at least the means to communicate with and see their loved ones via the internet and suggest that this is rolled out wherever it’s helpful – even if it’s just using someone’s mobile to make a What’s App call to the outside world, it will make all the difference to my sister and may well do to others.

We need to make people aware of what’s going on in residential care homes, that there are whole communities which are being cut off and finding digital ways to reach these people. My Separate Doors project has involved face to face contact but it can work just as well virtually, providing people with learning disabilities with a means to meet and connect and I  hope Arts Council England will support this work in this way moving forwards, its so needed.

With whatever democratic tools are left and to hand we need to make sure the right to life of people in care homes is articulated and upheld and we must keep the voices of the voiceless heard.

I don’t know when or if I’ll see my sister again.

Right now, a bad-tempered drive through the Kent countryside with a grumpy mother, followed by a reluctant shopping trip with a sister in tow,  would be absolutely wonderful.

 

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A Happy New Year and a hopeful new decade

Separate Doors aims to encourage the representation of the lives of people with learning disabilities in theatre for general audiences.

Last year the Separate Doors project worked with the Royal Shakespeare Company, The Royal Academy of Dramatic Art, six theatre companies, twenty theatre makers and actors, six playwrights and fifteen vocational actors with learning disabilities.

We explored the Silent Approach, a non verbal rehearsal method, in master classes.

We hosted a forum at RADA for fifty industry influencers and published the Separate Doors 3 report, distributed in print format to producing theatres in the UK.

The Separate Doors 3 report will be available soon in digital format via http://www.separate doors.org as will audio recordings of interviews and panel debates.

Our aim for next year is to encourage the training, casting and engagement of more actors and people with learning disabilities in our theatre and our performance culture.

We’re looking for new partners, do be in touch if you’d like to be involved.

Here are some quotes from the report.

The issue today is with disabled artists themselves blocking out non-disabled performers. You’ve got to get people working together, people with all different kinds of diversities. All different backgrounds, viewpoints, races and abilities and disabilities working together.

Nicky Priest, actor and stand up comedian with Asperger’s Syndrome

I hope more and more directors, working across the country in different companies, at different scales, feel confident to cast an actor with learning disabilities.

Hannah Miller, Head of Casting, Royal Shakespeare company

The kind of expertise Separate Doors offers needs to be rolled out and be made more accessible to people making integrated work.

Ben Weatherill, writer (Jellyfish, Bush Theatre and National Theatre)

I thought the Silent Approach master class and method was truly democratic and taking away language really interesting because I’m always questioning how you can make high quality theatre with actors with learning disabilities.

Nathalie Carrington, Artistic Director, This New Ground.

The Silent Approach has given me a lot to think about in my own practice.

Nickie Miles-Wildin, Director.

The Silent Approach is a dynamic method, it may have been non verbal but it certainly wasn’t silent, it was speaking very profoundly.

Amanda Whittington, Playwright.

Separate Doors shines a light on the many different ways of working within our very niche sector and its so important to keep learning disability on the agenda in the way that it does. Its also so good to challenge people, especially around language, in the way that the Silent Approach does.

Nick Llewellyn, Artistic Director, Access All Areas.

Its important to feel connected to the sector. Separate Doors helps to bolster that and to ground that and so it’s really useful.

Ben Pettitt-Wade, Artistic Director, Hijinx.

I think all of us felt deeply moved and changed by the Silent Approach.

Geoff Bullen, Director Emeritus of acting at the Royal Academy of Dramatic Art.

The Silent Approach works because all of the actors, with and without learning disabilities, have equality – because its our way of working, without words.

Rebekah Hill, actor with Downs Syndrome, Dark Horse

First impressions

A few early feedback quotes from the Separate Doors 3 forum at RADA

Imogen Roberts, Nathan Bessell, Rebekah Hill and me

It was such a fantastic event. I learnt a huge amount and it made me go away and think about my own practise in great detail. 

I feel like the best way in for future progress is to do with writing – new work is always financially risky for theatres, but new work written with this in mind is going to offer the best opportunities for incorporating actors with learning disabilities in “mainstream” work.

As a practitioner I feel that it would be wonderful to have the opportunity to do a practitioner workshop on the Silent Approach with you.

Separate Doors Apprentice Director Bethlehem Wolday-Myers

I reflected that stories shared generation to generation, culture to culture, person to person, have the power to challenge our prejudices – the heroes of those stories challenging our understanding of the individuals telling them.

The platform for integrated theatre needs to find its own voice to connect with the wider public by finding the right projects in which to champion its importance. 

RADA forum

I feel as though the industry is in danger of hamstringing risk and imagination by creating a climate of fear around misappropriation, so to hear the playwrights speak so candidly about it was refreshing and required.

What is the necessary action that follows these conversations? What changes have to be put in place for a genuine shift in our understanding of how true inclusivity can be achieved more broadly? 

Talking about it

Next week the Separate Doors 3 project reaches phase 2, the forum at the Royal Academy of Dramatic Art in London.

70 people from UK theatre will come together to explore integrated theatre, discussing the will and the way, and most importantly the how of making general audience theatre that includes actors with learning disabilities.

Venues and companies in the room include the Royal Shakespeare Company, The Royal National Theatre, York Theatre Royal, The Young Vic, The Stephen Joseph Theatre and the New Wolsey, Ipswich.

We have Artistic and Associate Directors, established playwrights, theatre makers, actors, movement directors, an agent, a designer, two academics and a film director.

We have our four ally theatre companies which work with actors with learning disabilities, Access All Areas, Dark Horse, Hijinx and Hubbub and we also have Diverse City and Ramps On The Moon.

Its going to be noisy.

And sometimes quiet.

Geoff Bullen, Emeritus Director of Acting at RADA will welcome us all and reflect on the Separate Doors 2 project on which we collaborated.

I’ll talk to the room about my thoughts on identity, writing, integrated theatre and the silent approach and then…

Nathan Bessell, Rebekah Hill, Nicky Priest and Imogen Roberts

A panel of leading actors with learning disabilities will discuss ambition, training and the kind of theatre they want to be part of.

A panel of writers will discuss writing for and with actors with learning disabilities and a panel of Artistic and Executive Directors will discuss including exceptional talent with learning disabilities in general audience work.

We then go into dynamic forum.

Provocations, in between the chatter, will come from three theatre makers who attended Separate Doors 3 silent approach master classes.

Provocateurs Abigail Clay, Alan Mandel and Heather Dutton

We’ll all reflect.

And then everyone in the space will have 60 seconds to feedback.

And if something doesn’t shift as a consequence of that…I’ll eat my hat!

My thinking

Last week as part of the Separate Doors 3 project I shared my silent approach methodology with directors, theatre makers and playwrights.

me and johnny

Up to 30 theatre professionals with and without learning disabilities came together for a day of intensive no speech rehearsal process in each master class.

This is what I did and this is what I was thinking…

Activity: Opening. (Starting soundtrack, setting up the space, watching actors do their personal warm up, opening the rehearsal room door to guests).

I’m thinking: Do I know anything at all about anything? Do not run away. Breathe. Why am I doing this? What am I trying to do? What are my objectives? What happens next? 

Activity: Flocking. (Bringing people together without speech. Establishing an ensemble).

I’m thinking: Please please please come with me.  Will you trust me and go with it? Do you want to connect and be? Can you come along with me through key movement patterns. Can 25 people become 1? Can we all relish the common condition of being human and move together in space?

flocking

Activity: Greeting. (Handshakes and emotional connection).

I’m thinking: Is the pacing right? Is anyone dropping out, are there any lapses in focus? When shall I risk a shift in activity, guide the next stage of movement/breath.  Offer eyes, take what comes back, accept. 

Activity: Sounding. (Ensemble working through breath and onto voice with feeling).

I’m thinking:  Be bold. Do it. Keep it interesting, keep changing it up, improvise. Push energy out and bring it back to quiet, to silence, to being. Does everyone want this? Are we all in this together? Can we experience air, energy and be in the same moment together?

Activity: Making (On text, directing actors in character within given circumstances).

I’m thinking: Do the video and audio cues show where we are? Do we all feel and know where we are? Can the actors feed off each others emotional states and move?Can we endow objects, silently? Can I add some dialogue- without it ruining things? Can we keep the physical shape, the action and reaction within the activity and not care about the lines? Am I serving the play? Am I serving the actors? Are we serving the audience? Is everyone authentically being in this space. Right now. Am I holding the rest of the room to the work? Is this drama? Does it make people feel? Do we care? Does it work? Does it matter?

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Activity: Ending (Moving out of scene and character dynamics).

I’m thinking: We’re all back in the circle and breathing, have we all come back to neutral, do I need to extend? How long can I hold this silence for? How long do people want and need? Have I got it right? How do I quantify this method? How do I explain it? How do I share this philosophy, this technique and its application?

the back of me

6 playwrights…

6 playwrights
(Clockwise from top left) Amanda Whittington, Nick Lane, Lisa Evans, Deborah McAndrew, Robert Shearman and Judith Johnson

1 director and an integrated ensemble…

The final Separate Doors 3 silent approach master class focuses on playwriting, building  roles and stage drama for actors and characters with learning disabilities.

To spend a whole day in the rehearsal room with six exceptional writers (who work in all kinds of other media too) is a spectacular treat and there’ll be great learnings attached to the forum at the end of the day.

Amanda Whittington, Nick Lane, Lisa Evans, Deborah McAndrew, Robert Shearman and Judith Johnson have all written highly successful plays and are many times published and performed writers (please follow the links for full biographies).

Many have already written roles for actors with learning disabilities and all are committed to exploring the craft and process in order to encourage greater representation for actors and people with learning disabilities in general audience work.

We’ll be focusing on scene building, collaborative story development and writing roles for actors with moderate learning disabilities- looking at the creative potential of  placing non verbal characters in the centre of the action.

The discoveries we make will be widely shared; with the aim of igniting  new text based plays for general audiences which include the lived experience of people with learning disabilities.

Exciting times…

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Traditional theatre? It’s behind you

its behind you

Theatre makers do it differently.

Theatre maker (noun): A creator of live performance, sometimes across art forms and, often, challenging established theatre formats.

Theatre makers are changing the landscape and shaking up the standard practices of a known kind of venue theatre, bringing hidden lived experiences into view and onto stages.

Recent work from theatre maker Bryony Kimmings confronted mental illness and cancer and has inspired a new wave of voices who craft performance from biographical material, challenging the ‘sit back and watch’ status quo and the sometimes distancing effect of the established form.

 

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Fake it til you make it- Bryony Kimmings

Theatre makers also include devisers and devising companies like Told By An Idiot, bringing a distinct physical style to stories which pack a punch.

 

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Paul Hunter and Told By An Idiot

And increasingly actors with learning disabilities who want and are able to make build and manage their own theatre projects are theatre makers. Mind the Gap has supported the theatre making of playwright Daniel Foulds and actor Alan Clay.

 

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Alan Clay- Skip Rap

The Silent Approach offers theatre makers a window into a different way of working and creating.

Separate Doors is hosting a day long master class specific to artists who are theatre makers at the Lawrence Batley theatre in February with project allies Dark Horse.

We’ll be working with an ensemble of actors with and without learning disabilities, exploring non-verbal ensemble building exercises, story-building and performance style.

At the end of the day there’ll be a forum to look at the different ways we all work and the applications and the change that’s possible when words are left out of the equation and this kind of revolutionary inclusive practice becomes part of everyone’s toolkit.

Get in touch and be a part of Separate Doors…

 

 

 

 

Directors, leadership and integrated theatre

What does a theatre director do exactly?

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Theatre director (noun); A creative collaborator, guide and conduit between a writer*, production team and performers and an audience.

*or not if the work is devised.

Who the director is informs the outcome to an extent, just as any other creative and production team member influences a show.

How the director works, who they cast, how they communicate, how they brief, manage people, run rehearsals, steer marketing and shape the final production for people is perhaps more important than who.

The role is as important as the person.

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Joe Sproulle and Lisa Howard in Sing Something Simple (Dark Horse, national tour 2)

There’s a highly positive drive for change in UK theatre to recruit theatre directors from under-represented demographics.

Disability-led work is thriving but actors with moderate learning disabilities struggle to lead and manage projects- and many trained actors don’t want to, they want to focus on acting as the hard-learned theatre craft it is-  and this is where integrated theatre (= casts and companies of creatives with and without learning disabilities) offers genuine equality for these performers.

People with moderate learning disabilities without literacy or verbal skills are barred from leadership roles in theatre.

But…

Actors with moderate learning disabilities aren’t barred from playing leading roles in general audience facing work when working in integrated casts with the Silent Approach.

 

The Silent Approach is a non-verbal rehearsal room method which supports actors with and without learning disabilities, in integrated general audience facing productions. Its proven, tried and tested in national touring, TV and film and its being shared widely via the Separate Doors project.

Separate Doors 3 aims to encourage theatre directors to increase the representation of people with learning disabilities in general audience, text based and venue theatre.

The project offers key tools for directors to make working with actors with learning disabilities as desirable and creatively expanding as it can be including casting/working with creative enablers and supporters/financial considerations, rehearsal room processes/ ensemble development/communication tips, management during the run and language and targets for marketing and promotion.

Get in touch and be a part of Separate Doors 3 at www.separatedoors.org

(We’re working with theatre makers and playwrights too…More soon…)

Race to the top
Vanessa Brooks and Dark Horse actors- Young Vic Silent Approach master class