Tag Archives: cultural olympiad

“It’s like The Vagina Monologues for Deaf and disabled actors.” The Stage interview.

My recent work in Singapore, developing my Unlimited international r&d commission, seemed to catch peoples’ curiosity and interest. What follows is an excerpt from an interview I gave to Joe Turnbull for The Stage. The full feature can be accessed here. 

O’Reilly’s collaborators Ramesh Meyyappan,
above centre, and Peter Sau, right, with Grace Khoo in And Suddenly I Disappear. Photo: Wesley Loh, Memphis Pictures West

Playwright Kaite O’Reilly’s latest groundbreaking production sets out to challenge the way disabled people are perceived in Singapore. Using disabled actors, she was determined to tell the stories of those who are not normally heard in a country where previous generations were locked up and left to die, as she tells Joe Turnbull

Five years ago, disabled playwright Kaite O’Reilly pushed the humble monologue into new creative territory with In Water I’m Weightless, an Unlimited commission for the Cultural Olympiad as part of the London 2012 Olympic and Paralympic Games. The show featured an all deaf and disabled cast. It had no discernible plot and experimented with dramaturgical form, incorporating access elements such as audio description and sign language into the creative material.

Now, O’Reilly’s latest project And Suddenly I Disappear…The Singapore ‘d’ Monologues, sees her return to this approach of creating a play out of a series of fictionalised monologues – sometimes delivered chorally – which are inspired by stories about the lived experiences of deaf and disabled people. It’s arguably even more ambitious than its predecessor.

Its development spans nine years, five languages and two continents (three if you include the trip to America that inspired it all). Not only that, it seeks to challenge the way disability theatre is both produced and received in Singapore and smash deep-seated preconceptions about disabled and deaf experience along the way.

“I received a Creative Wales Award in 2008-9, which allowed me an extended period of exploration and development,” recalls O’Reilly. “I spent time in New  York very briefly with Eve Ensler of the Vagina Monologues and Ping Chong and his Undesirable Elements series. I hung out with a load of disabled people that he’d interviewed who he then got to perform. I began thinking about that as a vehicle for challenging preconceptions and hopefully subverting some of the old narratives that are problematic – that are connected to what I would call the ‘atypical body’ – whether that’s neuro or physically or sensory. I interviewed over 70 deaf and disabled people from the UK and the material it inspired me to write became The ‘d’ Monologues, which provided the text for In Water I’m Weightless.”

O’Reilly’s affinity with Singapore predates even that, having had a relationship with its Intercultural Theatre Institute since 2004, and teaching there for the last six years. It was in 2004 that she met two of the main collaborators for And Suddenly I Disappear. The first is Peter Sau, a graduate of the institute and winner of best actor in the 2015 Singapore Life! Theatre Awards. Sau is associate-directing the project and managing much of the work being carried out in Singapore. The other is Ramesh Meyyappan, a deaf Singaporean visual and physical theatremaker now based in Glasgow, who will be overseeing the physical language elements of the project.

O’Reilly explains how she first met Meyyappan all those years ago: “He had just finished a performance of Edgar Allan Poe’s The Tell-Tale Heart and The Masque of the Red Death. People were telling him this weird ‘ang mo’ [Singaporean for white foreigner] is waiting outside and says she won’t leave until she speaks with you. We just about managed to have a conversation, partly through Singaporean Sign Language and me with British Sign Language and sign-supported English. It all got very funny.”

O’Reilly reconnected with Sau in 2015 when he came to UK to do an MA. “We started to hatch the idea of what I would call an international dialogue of difference, diversity and disability and deaf experience from opposite sides of the world,” she says. The piece received an Unlimited International R&D in March 2017 and has been in proper development since.

“Although we hadn’t worked together before, I thought I had to have Ramesh on board as well. I explained to him that he would be the bridge. He knows Singaporean sign language and he understands both Singapore and the UK. Also if we’re going to do this work – and I’ve always done this – I want it to be disability-led and deaf-led. So Ramesh is leading the deaf cultural parts of the project.” Everyone else involved in the project also identifies as disabled or deaf, both culturally and politically. Sau and his team have been collecting testimonies of disabled and deaf people in Singapore, with O’Reilly doing the same in the UK, which have inspired the latter to produce a series of fictionalised monologues – some abstract, some character-driven. The monologues are delivered across multiple languages – English, Mandarin, Welsh, British Sign Language and Singapore Sign Language. O’Reilly is keen to stress it’s not verbatim.

“I’ve always said people’s stories belong to them. As long as something says ‘by Kaite O’Reilly’ it has got to be by Kaite O’Reilly, otherwise it’s theft. I think it’s to do with my Irish cultural heritage – your stories are who you are. Ping Chong got around verbatim by getting the interviewees for Undesirable Elements to perform it themselves. I’m not saying verbatim is necessarily bad practice, there are ways of doing it well. It’s just my personal position.”

But some of the testimonies coming out of Singapore have been deeply concerning to O’Reilly, a lifelong disability rights advocate, whose activism includes lying down in front of buses on Direct Action Network demos.

“The central thing I’ve got so far listening to the interviews from Singapore is how people are completely invisible, hence the title. I’m hearing the most terrifying stories of disabled people being kept in the back rooms, never actually going out. A lot of them in previous generations were left to die at birth. So what we’re doing here is really radical. I’m encouraging them to record the interviews as well so there’s an oral archive. These are voices, experiences, perspectives that have never been paid attention to previously.”

To read the rest of the article, please go to: https://www.thestage.co.uk/features/2017/writer-kaite-oreilly-on-singapore-d-monologues/

With thanks to Joe Turnbull, The Stage and Unlimited

“But you know I don’t think in words.” An essay by Kaite O’Reilly.

As part of my on-going Fellowship at the international research centre ‘Interweaving Performance Cultures’ attached to Freie Universitat in Berlin, I have been reflecting on my work between Deaf and hearing cultures and disability culture and the so called ‘mainstream’ – most notably my recent work with Deaf artists. “But you know I don’t think in words”: Bilingualism and Issues of Translation between Signed and Spoken Languages: Working between Deaf and Hearing Cultures in Performance focuses in particular on my work with actress, visual language director and BSL expert Jean St Clair and performer/collaborator Sophie Stone.

Originally prepared as a presentation at the centre in Berlin on my 2012 Cultural Olympiad production with National Theatre Wales/Unlimited In Water I’m Weightless (read about it here onwards), editors Holger Hartung and Gabriele Brandstetter invited a longer reflection on the processes Jean, Sophie and I embark on when working together.

The long essay included in this new book quotes both my collaborators at length, and includes director Kirstie Davis’s production of my bilingual play Woman of Flowers. I wrote the part of Rose specifically for Sophie, with Jean working as the visual language creative director. Our process was documented on this blog.


Jean St Clair and Sophie Stone working on ‘Woman of Flowers’ 2014. Photo by KOR

The title of the essay “But you know I don’t think in words” comes from an aside Jean made when I requested she answer some questions about our process via written English rather than visual language. I didn’t want to have translation from visual to written language, and Jean is fluent in English. Her being present ‘in her own words’ seemed immensely important for the essay.

I’m delighted to be able to share our creative process, and to acknowledge Jean and Sophie, crediting them for this liminal work, this ‘space in-between’ we inhabit when collaborating across spoken/written English and BSL/visual language.

Unlimited Commissions 2015

At a launch earlier this week, the next nine commissions from Unlimited were announced. I’m delighted to be one of them.

Cosy is a darkly humorous play in an inclusive production for a mainstream audience, exploring universal ethical issues of life, death, and our relationship to the medical profession, and its desire to mend and sustain the body, regardless of quality of life. It aims to examine the final taboo with wit, intelligence and full emotional engagement, powered by a disability perspective.

Kaite said:

“I’m delighted that the panel behind Unlimited have seen the potential in this new play, exploring what is arguably our last taboo – the means by which we shuffle off this mortal coil. I hope to explore this often feared topic with humorous irreverence, as well as sobriety and respect. What I love about humans is our ability to live joyfully and in the moment, despite the knowledge our time is finite and we will all die one day. How these two opposing perspectives co-exist will be fascinating to explore theatrically – and the deceptions, avoidances, contradictions and confrontations within a family with distinct and different ethical, religious, and political perspectives of end of life scenarios.

As someone who identifies as disabled, I have long been part of a vibrant community known for its joie de vivre and gallows humour – created, perhaps, from our knowledge of the fragility and resilience of the human body. I want to bring some of the quality of this insight and perspective to the script, in a production I hope will be funny, quirky, honest, daring, and fully engaging emotionally and intellectually.’

‘Cosy’ will be directed by internationally recognized Wales-based director, Phillip Zarrilli. It will premiere in Wales in spring 2016 before taking it to the Unlimited festivals at the South Bank, London and Tramway, Glasgow in September 2016.

Jo Verrent, Senior Producer of Unlimited, said:

‘Art is at the heart of Unlimited; it’s the work that disabled artists and companies create that has the power and potential to transform perceptions. It’s a real privilege to be able to extend that opportunity now not just to artists based in England and Scotland but Wales too. I can’t wait to see what they all have to offer!’


The nine Unlimited commissions for 2015-16 span a wide range of disciplines – including theatre, visual arts, dance and literature – and are created by some of the most talented disabled artists in the UK.

‘Demonstrating the World’ Aaron Williamson (Visual Arts)
‘The Doorways Project’ Bekki Perriman (Other)
‘TV Classics Part 1’ Cameron Morgan (Visual Arts)
‘The Way You Look (At Me) Tonight’ Claire Cunningham (Dance)
‘Grandad and the Machine’ Jack Dean (Literature)
‘Cosy’ Kaite O’Reilly (Theatre)
‘Assisted Suicide: The Musical’ Liz Carr (Theatre)
‘Cherophobia’ Noemi Lakmaier (Visual Arts)
‘Him’ Sheila Hill (Theatre)



Audiences against cuts in theatres

From Nicola Merrifield of The Stage: 

Ruth Mackenzie has issued a rallying cry to theatre leaders to mobilise their audiences against imminent cuts to public funding for the arts, which are expected as part of the government’s comprehensive spending review taking place at the end of this month.

The director of the 2012 Cultural Olympiad said that theatres need to encourage their audiences, who are “more powerful” than venues, to lobby local and central government and prevent further falls in funding.

It is understood that Arts Council England is asking its funded organisations to model for 5%, 10% or 15% cuts following the CSR, and is briefing companies this week.

Mackenzie said: “The spending review is happening now, and it will be finished by the end of next week. We’ve got only days if we want to try and influence its path.”

She added: “Try to motivate particularly your super fans – those who are your absolute core. Maybe they’re your volunteers, maybe they’re parents of those that do learning and education work, because those are the ones who have a really good script of their own about why you matter.”

Mackenzie, who was speaking at the Theatres Trust conference on Tuesday, warned that one of the “great weaknesses” of past arts campaigns was that they were led by organisations rather than audiences.

“Our audiences can speak more powerfully than us,” she said. “So you’ve got, at most, a week – and in that week if you wished you could mobilise your audience to talk to your local MPs.

She said most ticket buyers for theatres in the UK were women aged between 35 and 60 – the same area of the electorate that chancellor George Osborne was “most concerned with”.

“Your greatest fans are the people he most wants to seduce,” she said.

Warning that the arts sector has been “slightly complacent” about its work being overlooked due to the prioritisation of other public services, such as health and education, by the government, Mackenzie said audiences should have been ready to act last year.

“Your audiences ought to have been ready, your audiences ought to have come out last year. We ought to have had ten million people who go to the theatre every year signing a campaign and going completely crazy just about the threat that the Department for Communities and Local Government could get a 10% cut,” she said.

Mackenzie added that arts venues should establish ways of using their community connections to create a “wonderful tapestry that shows theatre is at the heart of the community”.

“Each one of you needs to stop and reflect on what more you can do because we are running out of time,” she said.

Mackenzie has previously been artistic director of the Chichester and Manchester festivals, as well as being an adviser to government on cultural policy.

To sign up to the My Theatre Matters! campaign, run by The Stage, Equity and the Theatrical Management Association, visit www.mytheatrematters.com

Unlimited e-book

2012 and the Cultural Olympiad with the respective London Games seems already so long ago… So it’s a lovely reminder to receive this link to an e-book featuring the Unlimited commissions to Deaf and disabled artists…. Bobby Baker, Ramesh Meyyappan, Claire Cunningham, Sue Austin, Candoco, Marc Brew… so many, including my own ‘In Water I’m Weightless’ with National Theatre Wales.

The images are spectacular. Well worth a look….


20 Questions… Andrew Loretto

Continuing my series…. Twenty questions asked to creatives: actors, poets, screenwriters, directors, sculptors, live art exponents, burlesque performers, novelists, dramatists, and anyone else who seems interesting in between… My next interviewee is director Andrew Loretto, who I collaborated with recently on 20 Tiny Plays About Sheffield, which opens next week – and is already sold out….

20 Questions… Andrew Loretto.

Andrew Loretto  For the Crucible Theatre Andrew has directed premieres of Lives in Art by Richard Hurford and LeanerFasterStronger by Kaite O’Reilly –

Andrew Loretto outside the Sheffield Crucible Theatre

Andrew Loretto outside the Sheffield Crucible Theatre

part of the 2012 Cultural Olympiad. As Creative Producer for Sheffield Theatres, Andrew curated a range of projects with local artists including the Crucible 40th Birthday fortnight, Crucible Writers’ Nights nd Sheffield Sizzlers.

Previous credits include: Dramaturg for Company Chameleon’s Gameshow; Artistic Director, Chol Theatre (2006-2010) – Beast Market (shortlisted for Huddersfield Examiner/Arts Council England Arts Award 2008), Space Circus (shortlisted for Brian Way Award 2009), Not For All the Tea in China (BBC2 Glastonbury highlights); International Young Makers Exchange; Sherman Theatre; Pilot Theatre; National Theatre Studio; Plymouth Theatre Royal; West Lothian Youth Theatre; Ulster Association of Youth Drama; Artistic Director, Theatre in the Mill, Bradford (1999-2003) and National Student Drama Festival (2003-2006).

What first drew you to writing/directing/acting?

Getting involved with extra-curricular music activities at school in Holywood, N.Ireland. Music fired up a passion for performing and making art; getting involved with school plays led on from that. To this day live music plays a big part in my theatre work where possible. Arts provision in schools is SO vital.

What was your big breakthrough?

To be honest, I don’t actually feel the breakthrough has happened yet! My career has been a slowly evolving one – but always with a focus on new work, multi-artform and creating opportunities for both experienced theatre artists and first-timers alike – of all ages.

What is the most challenging aspect of your work/process?

I guess I’m always asking organisations and individuals to take a risk on realising big ideas that can challenge the notions of what theatre is and what it can do. So in many ways that’s one of the biggest challenges – overcoming fear and/or set ways of thinking and being brave enough to forge on despite any reservations that might exist! The key is to bring on board like-minded collaborators, so that you’re not on your own.

Is there a piece of art, or a book, or a play, which changed you?

No – but I am influenced in infinitesimal ways by art in all its forms and by real life.

What’s more important: form or content?

I’ll give the politician’s answer: this really depends on the project – some pieces are led by form, whereas for others the content defines the form, and some projects have a mixture of both as prime motivator. They exist simultaneously as one in my head. It’s like asking what’s more important to make up a human being: a body or a soul?

How do you know when a project is finished?

A project never finishes. But alas we have defined production and performance dates and the money only pays for so much!

Do you read your reviews?

Yes. I don’t believe people who say they don’t. However I do absolutely understand and respect that some actors don’t like to read reviews whilst they’re still in a show.

What advice would you give a young writer/practitioner?

Get together with like-minded collaborators as much as you can and make your own work. Go and see as much as possible – there are lots of ways (especially for young people) that you can get cheap tickets for theatre. Do your research. Don’t leave it until your final year at university/college. Be polite to everyone – colleagues on your course will be future artistic directors/literary managers.

What work of art would you most like to own?

I fancy Tate Modern. All of it. I’d convert the top floor into a bijou city-living residence, the oil tanks could be dedicated rehearsal and performance spaces to make new work with lots of people. We’d have lots of people’s parties in the Turbine Hall. Can I apply for Grants for the Arts funding for this?

What’s the biggest myth about writing/the creative process?

That a writer sits in her/his own room as a tragic, isolated tortured soul. Rubbish: the writer is part of a collaborative process – if you don’t want to be part of a team, realising a live performance together, then theatre isn’t for you. That’s not to say that there isn’t an element of tortured isolation PRIOR to rehearsals though…

What are you working on now?

Andrew in rehearsals for 20 Tiny Plays About Sheffield, 2013.

Andrew in rehearsals for 20 Tiny Plays About Sheffield, 2013.

I’m about to go into production week for 20 Tiny Plays about Sheffield – a massive project with a cast of 60 actors aged 12-85, performing 20 short plays – all of different genres about perceptions of Sheffield  in the 21st Century. The show runs at the Crucible Theatre, Sheffield from 8-13 April 2013 and has been fully sold-out for quite some time! We’re having to put in an extra public dress rehearsal so that people can see it. The 18 writers for the project are: Andrew McMillan, Andrew Thompson, Chris Bush, Chris Thorpe, DC Moore, Helen Eastman, Kaite O’Reily, Laurence Peacock, Louise Wallwein, Marcia Layne, Michael Stewart, Pete Goodland, Richard Hurford, Russell Hepplewhite, Sally Goldsmith, Stephanie Street, Tim Etchells, Tom Lodge.

’20 tiny Plays about Sheffield’ is the second production from Sheffield People’s Theatre – which I set up in 2011 for its first production ‘Lives in Art’ by Richard Hurford – achieving critical acclaim in the national press. I’m delighted that Sheffield People’s Theatre has since been awarded funding from Esmee Fairbairn foundation to develop its programme of work – of which ‘20 Tiny Plays’ is the first project to be supported. We’ve also got a Pearson Playwright bursary to support young Sheffield writer Chris Bush as part of the project and his year-long attachment to Sheffield Theatres. Chris’s work first came to our attention through the Crucible Writers’ Nights I’ve been curating over the past couple of years. Link to show:  http://www.sheffieldtheatres.co.uk/event/20-tiny-plays-about-sheffield-13/

What is the piece of art/novel/collection/ you wish you’d created?

I loved the recent production of ‘Constellations’ – design, writing, performances, movement and direction all knitting together seamlessly. Lucy Cullingford, the movement director on the show, is one of my regular collaborators – it was a brilliant showcase for her precise, detailed and nuanced work.

What do you wish you’d known when you were starting out?

That I am just as entitled to have my voice heard at cultural tables as the posh Oxbridge boys and girls. Being a Celt, my default position is the ‘cultural cringe’.  

What’s your greatest ambition?

I’d love to get full eyesight back in my right eye (lost as the result of a violent attack in 2006) but I don’t think technology will evolve that quickly in my lifetime.

How do you tackle lack of confidence, doubt, or insecurity?

Surround yourself with good friends and confidantes – stay in touch with people. Invest in those friendships, give more than you receive. And make sure they’re not all involved in the arts!

What is the worst thing anyone said/wrote about your work?

Oh, I have fabulously bad review about the first full-length play I wrote. The reviewer was in a foul mood on the night he came to see the show – and I think my play just made him worse. I truly treasure it – it’s one of those reviews that seemingly starts off well, then the first cut is made. The knife plunges in and there’s a final twist at the end, leaving the entrails of the play steaming on the floor. Yep, one of THOSE reviews. Classic. I bumped into the reviewer at a Christmas party – he happily told me that the play in question was his single worst theatre experience that year. I’m happy to please.

And the best thing?

Oh it’s the personal testimonies from people who have been touched by seeing a show or by taking part as a participant and seeing how involvement with theatre projects can – literally – transform people’s lives.

If you were to create a conceit or metaphor about the creative process, what would it be?

I guess this is a cliché, but being a director is being like a mother: you conceive the baby, give birth to it, nourish, cherish and want the best for the baby as it grows into a young person, then a rebellious teenager. Then finally you have to let your baby go out into the world on its own as an adult – very often with little thanks for all the work you did other than the occasional card or phone call. That’s what directing new work can feel like!

What is your philosophy or life motto?

How do you want to live your life? (actually I stole that from my good friend Carri Munn, but it has stuck with me.)

What is the single most important thing you’ve learned about the creative life?

That the majority of people in the arts are generous and kind. A minority are not so – and that’s often down to insecurities and fears. Focus on the majority.

What is the answer to the question I should have – but didn’t – ask?

Age 17. Edinburgh.

The Stage, Disability Arts Online, and Sparklewheels on In Water I’m Weightless.

I started this blog a year ago, wanting to document process and hopefully reveal some of the skills and experiences I as a dramaturg/performance writer may go through when making work in a broad range of styles.

I also want to have this as a place for discussion and reflection – dialogue, if you like.

My most recent production, In Water I’m Weightless, with National Theatre Wales, closed at The Purcell Rooms, Southbank Centre, London, as art of the Cultural Olympiad and celebratory Unlimited Festival, between the Olympic and Paralympic Games. I am now working in Berlin, but receiving more reactions to the work – interviews, reports, and reviews. I will partly reproduce them here, with the link to the relevant website so you can read further, if you so wish.

What follows is a mixture of opinion and perspectives – from the so-called ‘mainstream’ speciality industry publications (The Stage), disability culture (DAO) and a personal blog, informed by a disability perspective (Sparklewheels). It might be an illuminating mix!

Kaite O’Reilly: Putting the focus on humanity

Friday 31 August 2012Derek Smith for The Stage

Playwright Kaite O’Reilly is seeking to confront and confound people’s perceptions of disability with her latest production, writes Derek Smith:


Photo: Hayley Madden




A decade ago, Kaite O’Reilly, the award-winning playwright, poet and disability arts campaigner, created a stir. Peeling, the darkly comic play she had just written for the Graeae Theatre Company, proved groundbreaking enough, but some of the language used to champion her views on disability in theatre, must have caused a fair few in theatre to undergo some soul searching.

Speaking to O’Reilly recently in-between rehearsals for her new show, In Water I’m Weightless, there’s clearly still a burning belief that what the international dramaturg, author, mentor, tutor and honorary fellow at Exeter University said all those years ago hit the bull’s eye.

“One of the lines from that play has become a slogan,” she reflects with palpable pride. “What I said 10 years ago was that ‘cripping up’ had become the new, 21st century answer to blacking up. You know, that Richard III thing when someone pretends to have a hump or lose a leg, and so on. Mental health, disability and impairment roles are in so many plays, but invariably still played by non-disabled actors pretending to have that disability,” she says.

In 2012, it’s still the case, but it is getting better, she says. There’s still a huge amount of work to be done in the area of disability acceptance and inclusion in the arts – a fact borne out by actress Lisa Hammon’s recent comments in The Stage (August 23, News, page 2). “We just have to encourage people to get over their worries and their fears, says O’Reilly. “But, it’s very interesting now because people are getting excited about the challenge and the ideas.”

To read more of this interview, please go to:





The official image of Unlimited Festival by the superb Sue Austin.



.Paul F Cockburn for Disability Arts Online (DAO) Talks to Kaite O’Reilly and the Cast of In Water I’m Weightless about the production:

After an acclaimed run in Cardiff, National Theatre Wales and a cast of deaf and disabled performers brings the award-winning Kaite O’Reilly’s ‘In Water I’m Weightless’ to London as part of the Unlimited festival at the Southbank Centre.But how did such an imaginative, poignant and funny work come together? Paul F Cockburn, dropped in during the final week of rehearsals last July.

The morning DAO drops in on rehearsals, the cast have been working on In Water I’m Weightless for four solid weeks. With opening night now only a few days away, the momentum is palpable as the show’s ensemble cast — Mandy Colleran (who has to drop out after injury), Mat Fraser, Karina Jones, Nick Phillips, Sophie Stone and David Toole — physically flex and warm their bodies to the soundtrack of Michael Jackson’s Thriller.

The morning, according to NTW Media Officer Catrin Rogers, will be spent primarily doing ‘tech’. This is the first time the cast have been given their costumes, so the focus will be on going through the ‘tops and tails’ of scenes, focusing not on performance but the practical issues of stage positions and costume changes.

Director John E McGrath underlines how the cast should raise any issues they have from this process, not least visually impaired Karina Jones, who at one point has to dance in a big dress while wearing high heals. She’s up for it, but there are concerns: “You have a go at everything, because you’re fearless,” John tells her, though he later wonders if the question of her shoes will “haunt the whole production”.

The afternoon is dominated by the first proper run-through of the piece that brings together not just the cast but also the technical team with the music, soundscape and visual projections which are an integral part of the show. “Focus on meaning, on the work that’s been done on a scene,” John tells the cast.

“There are no happy endings. There are just run-throughs,” responds popular cast-member Nick Phillips, humorously paraphrasing what all too quickly becomes as an important theme of the work, repeated through the production.

Nick is the ‘original find’ of this production. Although professionally trained as a dancer, he had given up on performance after a car accident. It was involvement in an earlier NTW production that helped change his mind.

“I kind of just came to the conclusion that, actually, it was no different to what I used to do; it just happens that I have my wheelchair now,” he explains. “I’m still a bit wary of this not being my usual projected image on stage. My safety net is the others around me. I think I would have a different feeling about it if I was on my own — that first step onto the stage would be a lot scarier if I didn’t have these guys around me.”

To read more of this please go to: http://www.disabilityartsonline.org.uk/?location_id=1873

Two further reviews of In Water I’m Weightless is also on the Disability Arts Online website.

Rehearsal photo of In Water I’m Weightless, by Kaite O’Reilly.

Finally, the fabulous Nina of Sparklewheels.blogspot writes about the panel I was part of ‘Making work for Deaf and hearing Audiences’, plus reviews In Water… on her blog.

‘In Water I’m Weightless’ starts off like a fashion show. Pounding music and bright lights is the backdrop as the five actors enter the stage in elaborate gowns, suits and striking headpieces. The characters take turns in shouting at the audience, shouting that we are all the same, we are all mortal. After this impressive beginning, ‘In Water I’m Weightless’ goes on to explore how the story of the five characters overlaps, and how it overlaps with everyone’s story.

 To read more of the above, plugs coverage of Unlimited Festival at Southbank Centre, please go to Nina’s blog:


Guardian culture professionals network: London 2012 and Disability arts

An interview with me is included in an article on the impact of the Cultural Olympiad on The Guardian website:


Kaite O’Reilly workshop and panel discussion at Southbank Centre 30th August 2012.


Thursday 30 August 2012. 3.30pm. Southbank Centre, London.

An introduction to making performance work which, in both content and form, reflects a world that is more inclusive, challenges hackneyed representations of disability, and creates new narratives, protagonists and dynamic form.

The creative and theatrical possibilities of access devices or tools – sign language interpretation, audio description, projected text or subtitles, for example – are still not being widely explored. This workshop begins to consider these as the potential means to artistic innovation and exploration, rather than an ‘add on’, illustrated by examples from Kaite’s texts and productions within the ‘mainstream’ and disability arts and culture.

Please note – this free event requires a ticket. You can reserve your ticket online (£1.75 transaction fee) or by phone on 0844 847 9910 (£2.75 transaction fee). Transaction fees apply per transaction, not per ticket. You can also reserve your seat without a transaction fee by visiting one of our Southbank Centre Ticket Offices in person.

Kaite O’Reilly’s ‘In Water I’m Weightless’ with National Theatre Wales appears at Southbank Centre as part of Unlimited. She won the 2010/11 Ted Hughes Award for New Works in Poetry for her new version of Aeschulus’s ‘Persians’, for National Theatre Wales.

30 August 2012, 3:30pm

Sunley Pavillion

Southbank Centre




Thursday 30 August 2012


Southbank Centre, London

A dynamic panel discussion exploring the creative use of voice and sign language within live performance.

The speakers include artists Kaite O’Reilly, Jenny Sealey, Ramesh Meyyappan and Sophie Woolley.


Unlimited at Southbank Centre: 30 August – 9 September, 2012

‘Unlimited celebrates disability, arts, culture and sport on an unprecedented scale and encourages disabled and deaf artists to push beyond their personal best alongside Paralympic athletes, by creating work which opens doors, changes minds, and inspires new collaborations.’ Arts Council England

Southbank Centre will present the Unlimited commissions across the site in a high profile festival to coincide with the 2012 Paralympics. The Unlimited commissions invited artists to think big and develop dream projects that they would not otherwise have had the resources to create. The programme is about artists pushing themselves to reach previously unattained goals.

The 29 Unlimited commissions range widely in artform including dance, live arts, visual arts, music and theatre. The Unlimited programme will put the spotlight on the artistic vision and originality of deaf and disabled artists, giving them space to present their work and share their practice more widely.

Unlimited is a London 2012 Cultural Olympiad project. The project is principally funded by the National Lottery through the Olympic Lottery Distributor, and is delivered in partnership between London 2012, Arts Council England, Creative Scotland, Arts Council of Wales, Arts Council of Northern Ireland and the British Council.

Guardian review: In Water I’m Weightless – 4 stars

David Toole and Nick Phillips – In Water I’m Weightless. Photo: Farrows/ National Theatre of Wales

The following is a review by Alfred Hickling, 3rd Augut 2012, reproduced from http://www.guardian.co.uk/stage/2012/aug/02/in-water-im-weightless-review

The writer Kaite O’Reilly says that she maintains two careers: “the mainstream playwright and the less visible disability artist.” Recently, that balance has arguably been reversed. Three months ago, Sheffield Crucible and Chol Theatre presented O’Reilly’s LeanerFasterStronger – a provocative meditation on biological engineering that predicted Paralympians may one day overtake their able-bodied rivals.

Now comes this Cultural Olympiad commission for the National Theatre Wales, featuring some of the finest differently abled performers in the country. There’s no plot, narrative or characterisation to speak of, though the point is simple enough to grasp. Despite all the advances made in accessibility and civil rights, disabled people still find themselves ostracised, patronised and feared. “We’re a fire hazard. A drain on your resources,” they state – and they’re angry. Very angry. John E McGrath’s production opens in high-concept mode, with much strobing and strutting to loud music that seems to suggest a catwalk show. Then the five performers (originally six – Mandy Colleran unfortunately had to withdraw through injury) take a turn at the microphone and tell their stories. Often these are sardonically funny: in a section entitled Things I Have Lip-Read, deaf actor Sophie Stone recounts someone saying, “Well, at least the phone bill will be small.” At another point David Toole and Nick Phillips compare notes on typecasting. “I’m always the monster, the serial killer or, worst of all, the plot device,” Toole complains. “I got to play a regular criminal once,” Phillips replies, “but they had to change the line ‘take him down’ because of the stairs.”

The cut-and-paste make up of the monologues can sometimes be frustrating: there is a tendency for significant points to be raised rather than developed. But there are some thrillingly vitriolic passages enhanced by the aggressive physicality of the choreography by Nigel Charnock, whose death from cancer was announced yesterday. Mat Fraser contorts his body through a spasmodic sequence of movements to the Sex Pistols’ Bodies, whose sneering line, “I don’t wanna baby that looks like that” sums up the show’s punk-like ethos. And there’s an arresting instance of table-turning when Stone delivers a long speech in British Sign Language without translation. Suddenly you realise how incomprehensible the world would seem if you lost the ability to hear. I couldn’t understand a word, though the final gesture – a middle finger jabbed aggressively upwards – was enough to give the gist.

  •  At Southbank Centre, London on 31 August and 1 September