How relaxed performances enable people to enjoy a show
Relax and enjoy the show
It’s a human right to be able to freely participate in and benefit from culture[1]. If you and your family can’t access shows, you’re missing out physically, mentally, emotionally and socially. I’ve been involved in ‘relaxed’ performances for a few years. Not as a performer or a technician but as an adviser and volunteer. It’s tremendous to experience the relief, pleasure and increased confidence they bring to audiences. It’s also a positive experience for performers. Many people feel that relaxed performances offer a more dynamic theatrical experience which benefits everyone. Public performance companies and venues are gradually realising how many more people will pay to enjoy their shows if a few small changes are made to the experience.
What is a relaxed performance?
A relaxed performance retains the essential content and character of a
show, while making them more accessible for people with sensory communication
needs. Shows and venues are different so the adjustments vary. Typical features
are:
· Extra pre-visit
information
· Longer audience
arrival and exit time
· Addressing unfamiliar
show content
·
Relaxed audience etiquette
· Toned down sensory
experiences
· Quieter areas
allocated
·
Slightly reduced audience numbers to
give flexibility
· Trained helpers to
guide and support audience members.
Sometimes titles are used to indicate that a performance has been
adjusted to suit a particular audience. This is usually when the performers
have worked with an organisation which specialises in a particular condition,
disability or age group. For example, autism or dementia ‘friendly’
performances. While this is reassuring for audiences who ‘fit’ the title, it
narrows the perception of who might benefit. It also wrongly implies that
everyone in the target audience has the same needs.
‘Relaxed’ is more inclusive because it indicates the nature of the
performance and the environment, rather than saying who should come. This necessitates
everyone being open to a diverse attendance. For instance, adults who’re not
accompanying children, being made to feel welcome at ‘family’ shows. For me, a
shared non-judgmental attitude and a flexible approach are possibly the most
liberating and inclusive aspects of a relaxed performance.
Pre-visit information
Most pre-visit information is put online. People who face barriers to
access in everyday life, will expect difficulties at a show. It helps if
specific concerns are dispelled, accommodations explained, and warning given of
any issues that can’t be changed, perhaps explaining why. Venues or touring
companies should provide several different methods to ask questions and offer
to liaise directly with people in advance.
Anxiety can be further reduced by helping people to remotely familiarise
themselves with the venue, the people and the audience experience before they
come. Visual/social stories are a good way to do this. They show through large,
clear photographs and explain through simple, direct text, a ‘journey’ through
the anticipated experience. Short films or virtual reality tours are sometimes
provided. There are good examples used for 'The Lion King'.
People may be accompanied by carers or companions of the opposite sex
who need to help them with personal care. There are never enough accessible toilets or changing places. At some relaxed performances, all the
toilets are signposted as gender-neutral. So, for example, a dad can
comfortably take his daughter to the toilet without embarrassment. It really helps
families with disabled members to know about things like this when they’re
planning a trip to a show.
Longer audience arrival and exit times
Relaxed performances have longer than usual arrival and exit periods for
audiences. The journey to the venue can be a huge challenge for some people. Scope
is built-in for delays, for calming down, and for gradually entering a potentially challenging situation. Audience members who
arrive with plenty of time can prepare themselves for the show before lots of
other people come.
There are more likely to be people who take longer to seat at relaxed
performances. Lots of older theatres lack good physical access so stairlifts
may be used to move people individually and staff need to ensure aids are
safely stored.
Addressing unfamiliar show content
Potentially confusing, disturbing or surprising elements are explained
at the start or eliminated. Some of this is done in the pre-visit information
with spoiler alerts if necessary.
Familiarity is part of the pleasure for some people. I’m often asked if
the characters, storyline or music will be the same as audience members have
experienced live before, in a recorded version or in a well-loved film. I’ve
been involved with several Disney productions including ‘Aladdin’ and ‘Lion
King’. The globally branded publicity material and merchandise for these
provides reassurance that the show will be as people hope or expect. A nervous
child is often given confidence if they’re able to enter the auditorium holding
a soft toy version of a favourite character.
The fun of a ‘who dunnit’ isn’t necessarily reduced if a few plot twists
are revealed to people who might find them confusing or who dislike surprises.
This was tackled by ‘The Play That Goes Wrong’ team when they held a relaxed
performance in September. The concept of ‘a play within a play’ needed some
explanation, together with clarification of the multiple roles taken by actors.
Sometimes staff give pre-show tours to small groups and explain the show
format. If you’ve never been to a show before, you might not know what ‘acts’
and ‘intervals’ are or what happens during them. People can worry about doing
the ‘wrong thing’ or about not being able to do things they need to at the
right time. The conductor/lead performer of a musical performance will
introduce themselves and different members of the orchestra/band at the start.
The structure and content of the performance will be explained, together with
some background about the music. Musicians may demonstrate playing their
instruments or play introductory snatches of music.
About 20 people pre-booked a ‘touch tour’ of the theatre hosting ‘The
Play That Goes Wrong’. The tour took place before the rest of the audience
arrived. The tour included being shown around the public areas, meeting some of
the technical staff, and being invited to explore the stage. We were shown,
heard and even smelled some of the surprising special effects. The set and some
of the props could be touched. This was fun for everyone but it especially
helped audience members with visual impairments and those who found it hard to
distinguish between what is real and what is an illusion.
We were told that at one point in the play a glass vase would be
violently smashed. Everyone was able to see and feel the real, heavy glass
vase. Then we were given the much lighter sugar glass substitute that would
replace it closer to the ‘smashing scene’. With everyone’s permission, the
second vase was then smashed so people could anticipate what it would be like
when it happened again later. Pieces were passed around so we could all feel
how soft and rounded the edges were. This demonstrated that no one was going to
get hurt. The ‘touch tour’ made participants feel involved in what they were
about to experience. While it was taking place, the tension amongst the group
palpably reduced, with interest and excitement replacing anxiety.
‘The Play That Goes Wrong’ includes some acting in the auditorium.
Having also seen the non-relaxed version, I know that some of this was cut to
avoid confusion, particular before explanations could be given to the gathered
audience. Most was kept and pointed out so people could enjoy it more when
it happened. This included associated equipment which was in situ throughout.
In shows like ‘Matilda’, cast members gather in thoroughfares and bar areas
where they join in the show via microphones, and then enter through public entrances.
As well as being forewarned, where appropriate, actors chat to the public while
they wait.
As the curtain is raised, the cast introduce themselves to
the audience. Then they outline the characters they will be playing.
This can include briefly explaining how their costume helps them to pretend to
be other people or animals. Unfamiliar physical and behavioural transformations
can be alarming for some audience members. The Disney shows I’ve been involved
with, have been particularly conscious of this. Masks and heavy make-up can be
disturbing. This is partly because they hide or change facial expressions.
People normally use these to interpret emotions and to try to predict what a
person will say or do next. Actors playing villains or people who hate each
other, may emphasis that this isn’t true in real life! They may say that any
violence is pretend and that any weapons used are harmless props. On occasion,
these are handed to audience members so they can check this for themselves.
None of this reduces the dramatic effect of a show. Great acting, lighting,
music and all the other elements, ensure that when the show begins, so does the
magic.
By ‘breaking the glass wall’ between performers and audience, pathways
of communication and expression are widened. Of course, some performances lend
themselves more to this than others. I’ve worked with Chelmsford City Theatre
to make their regular environment more accessible, particularly on how to make
their first relaxed pantomime more comfortable for autistic audience members.
Pantomimes traditionally include talking to and involving the audience.
However, they’re also usually bright, loud and seemingly chaotic which can be
challenging for some people.
Relaxed audience etiquette
‘Do nots’ are kept to a minimum at a relaxed performance. People can use
devices like mobile phones because they need applications on them like
communication aids or games. No one tuts when people vocalise or move about in
unexpected ways. So long as everyone is safe, people can leave their seats
whenever they want to. Most people can wait until intervals so this isn’t as
disruptive as it sounds. The chance to take breaks from the experience and be
able to return when they’re ready, is crucial for some people. For example,
stress levels are reduced if you know that you can easily get to the toilet
whenever you need to.
The usual rules of self-expression are relaxed. One of the most joyful
relaxed performances I’ve been involved with was a special Prom at the Royal
Albert Hall. Silent reverence to the music and polite applause in the
‘appropriate’ places was replaced by singing, dancing, spinning, and jumping,
accompanied by the biggest smiles! Adults explained and pointed things out to
children. Musicians came among the audience to show what they were playing and
to allow people to experience the instruments close-up. On this occasion, the
audience was invited to use silent ‘jazz hands’ instead of clapping which made
the applause less noisy. Relaxing the usual ‘rules’ does demand greater
tolerance from everyone. A handful of traditional ‘Prommers’ looked
disconcerted by the ‘relaxed’ experience but they could go to all the other
Prom performances to enjoy how they are usually.
Toned down sensory experiences
Within the necessary constraints of health and safety, venues reduce
sensory contrasts. Where possible, bright lights in public areas are reduced or
dispersed more. The auditorium remains more illuminated throughout the
performance. Strobes and spotlights, especially when they fall on the audience,
are cut.
Strong-smelling food isn’t usually sold at a relaxed performance. People are perfectly happy with the usual drinks, popcorn and ice cream. Audience members are allowed to consume their own refreshments if they have special dietary needs. Water is always put out at refreshments stands.
Announcements over public address systems are reduced to a minimum. No
seating calls are made as showtime approaches nor during the interval.
Instead, staff and volunteers advise about times and encourage returns as
appropriate. This is made easier by the absence of background music in public
areas. Other sources of noise, such as audio-visuals on continuous play, are
curtailed as much as possible. However, there’s always live, low-volume
coverage of the show on TV screens outside the auditorium for audience members
who want to keep up with what’s going on while they take a break.
For 'The Play That Goes Wrong', some high-sensory special effects were removed. Others were toned down. Some, such as gunshots essential to the storyline, were retained but advance warning was given as to roughly when they would happen in the performance. That way, people could prepare themselves or make sure they weren’t in the auditorium when the effects happened.
A recent experience taught me that it isn’t enough to make these
adaptations. Users need to know by being told verbally or via notices. Otherwise, they may not risk finding out. A boy needed to use the toilet but as
he expected to find hand driers switched on, he wouldn’t enter. For him, the
loud noise they make is painful and terrifying. His parents told me that their
son has digestive problems and repeated urinary infections because he’s too
scared to use toilets away from home. There was no reassuring sign
saying that only hand towels were in use that day. I slowly managed to gain the
boy’s trust and persuaded him to go into the toilet area. This enabled him and
his family to stay for the rest of the show rather than go home. Such a simple thing
made their day.
Quieter areas allocated
A show experience can become overwhelming for some audience members. To
cater for this, calmer areas are set aside and signposted. Here, people can
employ their personal coping strategies with a degree of privacy. Toys and fidgets
are put out to provide calming distractions, amid comfy chairs, beans bags or
large cushions. Volunteers are on hand to give support if needed. Usually,
people using ‘chill-out’ zones decide to return to the auditorium when they're
ready.
Unfortunately, an evacuation alarm sounded during a relaxed performance
of ‘Aladdin’. The sudden disruption and the loud, persistent noise naturally
caused distress for audience members. The theatre staff efficiently got everyone
out of the building. Some people had to be hurriedly carried out due to
disabilities. Everyone gathered anxiously in the streets near the theatre. For
audience members with a particular dislike of surprises and crowds, this was
very stressful. The team didn’t know at first that the alarm was false.
Nevertheless, we wandered around being friendly and reassuring. All the
‘baddies’ in the show became nice, while the ‘goodies’ largely kept in
character to try to retain the spell of the story. I particularly remember the
Genie doing a fantastic job at being jolly. Most audience members were coaxed
back in when the all-clear was given, but some missed a lot of the show while
they recovered from the trauma. A few couldn’t handle going back into the
theatre at all. An evacuation is probably one of the worst things that could
happen during a relaxed performance. Having survived that, most audience and
team-members felt that they could cope with anything else that could happen!
Slightly reduced audience numbers to give flexibility
People can be unsure how they or their family member will cope with the
experience or how disruptive a potential reaction may be. They can feel less
anxious if seated near an exit. This is one of the reasons why there are always
some seats left spare at relaxed performances. Another reason, is the physical or
psychological difficulties some audience members experience if they are too
close to other people. At a recent West End show, I helped a young man with a
hearing impairment to move to a seat closer to speakers. It’s important to be
able to be flexible.
Trained helpers to guide and support audience members
Being surrounded by strangers can be unnerving so staff and volunteers
are clearly identifiable. We welcome people as they arrive and we are introduced
en mass by the cast as the show opens. There are always helpers throughout the
venue to guide and support audience members. The team are trained and are
familiar with the venue. We stay until the last audience member leaves.
Sometimes cast members also come to the foyer to say farewell.
It isn’t just the audience who has fun!
Performers have told me how they were initially apprehensive about
audience reactions and intrusions. After doing relaxed performances, they often
become their favourite shows. This is because they receive immediate,
heightened audience feedback as they perform, and such positive responses
afterwards. Certainly, they are some of the most enjoyable shows I’ve ever been
to, even if, as a helper, it takes several performances for me to see all the parts of a
particular show and not usually in the right order!
How do I find out more?
As far as I know, there isn’t one national listings guide to relaxed
performances. A Google search usually reveals a current selection. Some
organisations representing particular disabilities and conditions such as the National Autistic Society are involved in
relaxed performances.
Most of the big entertainment, live music, cinema and theatre companies
now offer them. I was involved in a film made by Disney which explains what to
expect at one of theirs. An increasing number of smaller venues run them too.
It’s always worth contacting your local venues. For example, the Unicorn Theatre in London stages relaxed performances of all of
its shows.
Useful websites:
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