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:





[1] United Nationals Universal Declaration of Human Rights 1948.

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