Tag Archives: Lisa Hammond

‘Theatre has to get to get over itself and put crips in its scripts.’ Guardian Comment is Free.

The Guardian Comment is Free asked me to respond to Lisa Hammond’s Open Letter to Writers: Put Crips in your scripts (reproduced on this blog at: https://kaiteoreilly.wordpress.com/2012/08/08/lisa-hammonds-open-letter-to-writers-put-crips-in-your-scripts/)  

What follows is their edit of my article.

I think it is edifying to read the forty plus comments on the Guardian website in response to the article. You will find the article and the comments at:


Theatre has to get over itself and put crips in its scripts.

Kaite O’Reilly. 

Guardian Comment is Free.

I was delighted to read Lisa Hammond’s open letter to writers as part of this year’s TV Drama Writers’ Festival – Put crips in your scripts. It’s a sentiment I support, and have for some time. As a playwright, I’ve been trying to put complex, seductive, intelligent characters who just so happen to have an impairment into my scripts for decades. It is only in rare cases I am commissioned to write such a play; usually I have to smuggle it in like a Trojan horse, with disability politics and what I call “crip humour” in its belly.

Disability is often viewed as worthy, depressing, or a plethora of other negative associations I (and many others) have been trying to challenge and subvert in our work for years. I find this representation astonishing, for the vast majority of my disabled friends and colleagues are the wittiest, most outrageous and life-affirming human beings I have ever had the pleasure of spending time with.

I identify proudly as a disabled person, but am often struck how to those without this cultural identification the impaired body is “other”. Disabled people are “them” – over there – not a deaf uncle, a parent with Alzheimer’s or an acquaintance who has survived brain injury following a car accident. Although the vast majority of us will acquire impairment through the natural process of ageing, through accident, warfare or illness, disabled people are still feared, ostracised and set apart.

The western theatrical canon is filled with disabled characters. We are metaphors for tragedy, loss, the human condition – the victim or villain, the scapegoat, the inferior, scary “special” one, the freak, the problem requiring treatment, medicalisation and normalisation. Although disabled characters occur in thousands of plays, seldom have the writers been disabled themselves, or written from that perspective. It is also rare for actors with impairments to be cast in productions, even when the character is disabled. As I scornfully stated in my 2002 play Peeling, in which Hammond performed: “Cripping up is the 21st century’s answer to blacking up”.

As Hammond suggests in her essay, the theatre profession just needs to get over it – their fear, concerns about expense, about difference. There are fantastic deaf and disabled performers in the UK, just as there are talented and experienced choreographers, directors, visual artists, sit-down comedians, and writers. I hope that the Paralympics, and Unlimited at Southbank Centre,  part of the Cultural Olympiad, will change preconceptions just as the Olympics did regarding sportswomen and abilities.

For “putting crips in our scripts” means we have different protagonists with different stories, which don’t always have to revolve around yet another medical drama. The active, sexy, wilful protagonists of In Water I’m Weightless are an anomaly simply by being protagonists, and in control of their lives. The work is a montage of movement, visuals, excerpts from fictional monologues and not, as most of the reviewers assumed, the actors’ autobiographies (as director John McGrath said, “that’s called acting”).

We need characters who are not victims, whose diagnosis or difference is not the central drama of their lives, but multi-faceted individuals with careers and relationships, dreams and challenges. I want characters who are full of themselves, their hands and mouths filled with a swanky eloquence. Whether in signed or spoken languages, words can dazzle and dip, shape form, shape meaning and shape a perspective that counters the previously held.

We need to have crips in our scripts not just to reflect the society we live in, but, as one of my characters says, to “threaten the narrow definition of human variety … [to] broaden the scope of human possibilities”. And we need crip actors to perform these parts, not yet another non-disabled actor doing an impersonation, with an eye on an award.

(c) copyright Kaite O’Reilly 30th August 2012.

Lisa Hammond’s open letter to writers: ‘Put Crips in your Scripts.’

I was delighted to read Lisa Hammond’s open letter to writers as part of this year’s TV Drama Writers’ Festival – ‘Put Crips in your Scripts’. I’m a fan – Lisa appeared in the original production of my play ‘peeling’,  directed by Jenny Sealey for Graeae Theatre Company in 2002/3. Even then, Lisa had strong opinions about disabled performers’ careers and choices – she is always forthright and wryly intelligent.

The following is reproduced from the BBC writersroom website:


An open letter to writers – Put “Crips” in your scripts by Lisa Hammond.

Monday 6 August 2012,





Lisa Hammond. Photo: Disbility Now.

The issue of why disability is so invisible in writing… I feel it is an incredibly complex issue and an overwhelmingly simple one to fix!

Here’s the simple way to fix it! – Write characters that are foremost human (as you normally would) with all their beautiful neurosis and cast a good actor who happens to have a disability in a percentage of those roles…simple.  You will get a realistic portrayal because first and foremost disabled people are human and experience as wider range of dramas as anyone else would…… I truly believe if this happened it would change the world!

This currently doesn’t happen…

In my own experience/opinion this is why it doesn’t happen:


Fear of writers feeling they might get it “wrong” or that they have to be some sort of expert, or that the story would have to be centred around the impairment of the character and worries about if the script would go down well with the executives/producers.

A suggestion to move away from that fear: 
The best representation – the most groundbreaking – is a hands off one – the character with the disability does not have to have a story written around that disability… they or others they talk to in the story do not have to discuss why they are the way they are.. Or why they are bitter because of the way they are…Or why they are an inspiration because they are the way they are….I know loads of disabled people and believe me their impairment is usually the least of their worries!  It’s their human stories/problems that are the juicy and dramatic parts of their lives!!

And if you DO want the characters impairment to be the focus, think about why?

And if you are still convinced, just try to avoid massive clichés most of which are covered online when you type in “disability representation in the media” and do a bit of research on the clichés.  Or I would urge you to watch a short film called “Code of the Freaks” which is about representation of disabled characters in Hollywood, which you can get online. It’s an eye opener! 
How do you ensure your writing includes people of different ethnicities? Think about doing a similar thing for disabilities?

The Fear from executives/producers, I think they are afraid of how “their audiences” might react, what “statement it would be making” about the drama/programme, the costs and access requirements of employing disabled actors…

Suggestion – well in this risk averse age it’s difficult to take punt but have trust, that your audience WILL accept it, play to that audience’s intelligence rather than their ignorance.  Yes I’m not stupid or deluded – there might be a moment where someone sitting watching telly might think ohh she looks weird or – ohhh he’s got a funny leg/eye/face whatever… but if the story is good and the acting is good they will accept it and even forget it.  And that’s the same thing when dealing with “What statement is it making” if we cast a disabled actor in that role without mentioning their condition.  The only statement you will be making is that people with disabilities have normal, sometimes wild, sometimes dull, sometimes insignificant, sometimes painful lives just like anyone else…

Fear from casting directors that they do not know where to get good disabled actors from, that the pool of people is small and limited, fear that it wouldn’t sit well with executives/producers and the access implications /costs of running a disability aware audition process…

Suggestions:  There ARE talented actors and actresses out there… If casting directors were to adopt “impairment blind casting” much as people do with “colour blind casting” then believe me you would see them come out of the woodwork!  Often when a call goes out for a disabled actor – the casting is so very limited – because the part has been written specifically about that impairment – it’s heavily marked that the story revolves around it – so the pool is massively reduced as to what choice you have with the actors you can audition… I’ve often gone up for “wheelchair user” roles and haven’t got the job because they’ve said I’m also small so they think that doesn’t seem “authentic”, or indeed been up for roles where they casting someone with short stature and because I use a wheelchair I’m too disabled not small – I once got called “too tall to be small” in an audition!  Try to be more open around this!  If it was a character that has a disability but it wasn’t a pivotal plot point – what does it matter what impairment they have?

Fear from directors feeling like they wouldn’t know how to direct a disabled actor and or having a set that is geared up to a person with a disability…

Suggestion – get over it!  The actor is a professional.

Fear from agents who represent the actors with disabilities about pushing their clients to be seen for “normal roles” within their casting brackets or requesting that their client needs access to a building or audition process – they get put off – they don’t want to “rock the boat” in their relationship with the casting director’s…

Suggestion: Also get over it!  Rock the boat! Mix it up and explain to the casting departments that your client would be great for the job and needs to be given the chance to audition.  Just to put that into perspective disabled actors get around 2 auditions a year for TV compared to their peers (with a similar CV but no disability) around 20 auditions…

And one that is close to my heart – 
Fear from disabled actors – that they do not want to mention that the script/language/plot/character is clichéd because it’s so rare  to get an opportunity  to audition they don’t want to come across as difficult or political –they want to work!

Suggestion: If we all took our part in the fight to change in our various roles within our industry – it wouldn’t be so frustrating and tiring for the actor to produce the answers always, or feeling like they are gaining a bit of a “reputation”.   It is important for actors to tread the line carefully between being an actor and an activist!  Be light about it – but DO mention the issue’s – how will anyone know if you don’t open up the conversation?  How will it change?

This brings us to cost/access worries – remember that the actor you will either be auditioning and or working with will have loads of experience with their specific impairment – simply ask them!   It is THEIR responsibility to tell you what they need and to take care of the specifics of their needs – it’s not for you to be guessing or worrying about!

They’re usually incredibly resourceful as we live in a world that is not accessible – so we deal with it all the time!  For example I’ve worked in theatres that have been wheelchair accessible front of house but not backstage – we get round it.   I’ve had to do auditions in cafés, my mate had to do an audition on the corner of Oxford St!  When I have auditions at Spotlight casting – I can’t reach the lift buttons so I have fashioned a retractable stick, which is now “my spotlight stick”… Some disabled actors when they are on set have to have a trailer that’s accessible – they don’t really exist – so my friend had a horsebox as a trailer?! Hahah!  We have a sense of humour and realize things aren’t perfect…

Just please don’t let fear of all those unknowns put you into a place where you step away and decide it’s too much of a headache, the media is so powerful, we desperately need things to change – and EVERY single one of you can do something practical to help that happen.

Open letter by Lisa Hammond, reproduced from BBC Writersroom.

Lisa Hammond’s acting credits include Everytime You Look at Me, One Night, Psychoville, Bleak House, Max and Paddy’s Road to Nowhere.  Lisa formed part of the panel at this year’s TV Drama Writers’ Festival for the Key Note Disability Debate: Changing the Face of Drama.