Tag Archives: inclusivity

What a week! Award nominations, reviews, publications and research and development….

It’s been quite a week…..

On Monday we learned my Unlimited international commission And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues has been nominated for Best Ensemble at The Singapore Theatre Awards. This is wonderful news, particularly from a disability perspective and regarding inclusivity. Many of my collaborators from Singapore (such as the fabulous Steph, below) were emerging performers, appearing in this first ever all Deaf and disabled-led project in Singapore, directed by Phillip Zarrilli and produced by Access Path Productions. For the quality of the work to be recognised so quickly and so publicly, is a real triumph, regardless of the actual final ‘results’. Those of us who are ‘veterans’ of the UK’s disability art scene (including Sara Beer – also performing in the ensemble) have been hammering on the doors to be given access and opportunity for DECADES. Things are changing in the UK, as across the world, but it is gratifying that this international collaboration – the first of its kind in Singapore – is included in the nominees for this award. The salty old crip’ cynic in me would say award nominees are usually non-disabled actors ‘cripping up’ to play a disabled character. It’s satisfying that for once Deaf and disabled actors are being nominated for playing a variety of ensemble characters (and not a Tiny Tim in sight).

Stephanie Fam performing in Kaite O’Reilly’s international Unlimited commission ‘And Suddenly I Disappear… the Singapore ‘d’ Monologues. Sophie Stone in background.

.

The week proceeded with a terrific review of my forthcoming publication –  Persians – with Fair Acre Press. National Theatre Wales originally commissioned this new version of Aeschylus’s masterpiece – the oldest extant verse drama in the Western theatrical canon – for Mike Pearson’s site-specific performance on MOD land. The verse drama will be released later in the Summer, and I can’t wait to reveal the glorious cover, featuring several of the performers from the original production, in a special blog later this month. Meanwhile for the curious, a thumbnail of the cover is included in Liz Jones’s New Welsh Review critique of the text, reworked as poetry for publication, here.

Most of the week was spent in Cork, in an r&d with Gaitkrash. I’m not allowed to say too much at present, and apologies for being enigmatic…

I returned back to Wales in the early hours of this morning, reading further positive comments about Taking Flight Theatre Company’s production of my play peeling, which is currently touring. It’s in Manchester tonight, and other dates in Wales and Oxford over the next few weeks, finishing this leg of the tour on May 4th in Cardiff. Both The Stage and The Guardian gave the production (directed by Elise Davison) sparkling four stars reviews. Details of the tour can be found here.

The cast of Taking Flight Theatre Company’s production of Kaite O’Reilly’s ‘peeling’. Photo: Janire Najera/Raquel Garcia

Finally, this morning I woke to a review of my collected monologues The ‘d’ Monologues in Wales Arts Review. Reviewer Tomos Morris and I met last month  over a cup of green tea for an interview for The Cardiff Review, out later this month. I’m delighted Tom’s extensive research has been put to good use in his critique, which you can read here.

Meanwhile, the fire is burning, the bottle of wine uncorked and a few hours of relaxation beckons….

 

‘Atypical Plays for Atypical Actors’ review – Disability Arts Online

atypical-plays-for-atypical-actors

Reviews are gold dust. They are even more rare when the publication under the critical lens is a collection of plays. Plays get reviewed in production; they seldom make it into print, never mind being reviewed in print. So owing to this, I am hugely appreciative of the publications who have shown interest and support of my ‘atypical’ and crip’ work by providing critical engagement for my selected plays.

First up is the ever provocative and excellent Disability Arts Online, with a review by  Sonali Shah. I reproduce much of the review here, but you can read the  full text on the website, where DAO readers can find a 30% discount voucher for the collection.

Disability Arts Online: Atypical Plays for Atypical Actors Review July 4 2016 by Sonali Shah.

‘Atypical Plays for Atypical Actors’ is a collection of five unique, but equally powerful, poetic and political pieces of drama composed by the award winning playwright, Kaite O’Reilly. Review by Dr Sonali Shah (University of Glasgow)

O’Reilly’s policy and practice as a writer is to ‘put crips in our scripts’.[…] So with this motto in mind, O’Reilly’s ‘Atypical Plays’ present opportunities for disabled artists to occupy the stage and challenge audiences’ assumptions about disability and difference. The writer works together with her actors in a non-hierarchical and innovative way, continuously and purposefully adapting to each unique movement, to create the five theatrical pieces in this collection: Peeling, The Almond and the Seahorse, In Water I’m Weightless, the 9 Fridas and Cosy.

Written in the 21st Century and from an insider lens, these five plays subvert traditional notions of normalcy and encourage the possibilities of human difference to explore the whirlwind of relationships, emotions, choices and identities that, both construct us and are constructed by us, as we all move through life and try to work out what it is to be human.

These texts portray disabled characters as sexy, active and wilful beings in empowering and provocative stories, cutting against the grain of the trope for most blockbusters of stage and screen, which revolve around medicalisation and normalisation using disabled characters as a metaphor for tragedy, loss or horror.

The first play, peeling, described by the Scotsman as ‘a feminist masterpiece’, is a fine example of meta-theatre that explores themes of war, eugenics, and fertility. Written specifically for a Deaf woman and two disabled women (each strong, witty actors and feisty activists), peeling is a postmodern take on the epic Trojan Women.

Although the three characters – Alfa, Beaty and Coral – are consigned to the chorus, O’Reilly makes them central to this play, revealing their real personalities and hidden truths through vocal cat-fights and heckling matches (interpreted via BSL and audio description) while they wait to play the two minute part they have been awarded in the name of ‘inclusion’.

The Almond and the Seahorse is the second script, and the most structured of them all. Written for a cast of five, it examines the impact of Traumatic Brain Injury (TBI) for the individual and their slowly fading loved ones. Focusing on two couples (where one partner in each has a diminishing memory) it demonstrates the slow debilitating power of memory loss on present relationships and dreams for the future.

Reading this script evokes a sense of how critical and delicate the human memory is. This is reflected in the words of Dr Falmer (the ambitious neuropsychologist character whose beloved father had TBI) – ‘we should not invest so in such perishable goods’ (p.127). The vibrant clarity of monologue, dialogue and stage directions on the page makes it easy to visualise this play on the stage. Highly affecting, the performed text will undoubtedly give much food for thought for the audiences.

The third play in this collection In Water I am Weightless – is an apt title for exploring the heavy burden disability seems to provoke in society as in water it remains hidden. Written for a cast of six Deaf and disabled actors, and entrenched in crip humour and energy of the Disability Movement, the performance script adopts a monologue and dialogue style to create a mosaic of stories of the realities of living in a disabling society and being seen as ‘vulnerable’ and ‘in need’ by the non-disabled.[…] Performed at Unlimited in London 2012, and inspired by a range of informal conversations with disabled and Deaf citizens, this work is really does put “us” in the slogan “Nothing About Us Without Us”.

The 9 Fridas use the artwork of the disabled Mexican painter, Frida Kahlo, as a lens to deconstruct her biography including her changing social positioning in terms of her disabled and feminist identities. The last play, Cosy, is a dark comedy exploring inevitable ageing and death.

Together the five plays make essential reading, both for educational purposes and pleasure. Informed by the Social Model of Disability, they have the potential to enact a kind of activism and a change in public perceptions towards disabled people, previously shaped by negative representations in popular culture. Atypical Plays for Atypical Actors offers an entertaining and poetical insight into what is means to be human.

 

With thanks to Disability Arts Online. Please check out this essential website – http://disabilityarts.online – an important hub for discussion, reflection and engagement with disability arts and culture.

Atypical Plays Discount code from Oberon books available to DAO readers here