Tag Archives: Sophie Stone

Is disability culture going mainstream? ‘richard iii redux’ shortlisted for 2019 James Tait Black Award

I know the answer even as I wrote the title for this blog… No. And define ‘mainstream’ while you’re about it, O’Reilly. And ‘disability culture’… and no, I am not going to turn this blog into one of my academic essays about Crip’ culture and interweaving performance cultures (though I can refer you to where they’re published, if you want to drop me a line, below).

I started wondering about the place of disabled-led work after noticing it seems to be getting a higher profile these days, whether at Edinburgh Fringe or Lee Ridley (aka ‘No Voice Guy’) winning Britain’s Got Talent and heading off on a National tour. The RSC, National Theatre (London) and The Globe are all presenting more diverse casting regarding Deaf and disabled performers in recent and upcoming productions, whilst Ramps on the Moon and Agents for Change beaver away on inclusivity and creatively accessible theatre productions with their regional theatre allies.

This is all brilliant. I’m ecstatic when longterm collaborator Sophie Stone moves from spoken to visual language on a Westend stage in Morgan Lloyd Malcolm’s ‘Emilia’ and can’t wait for her embodiment of a Deaf Jacques in ‘As You Like It’ at the Globe later this year. And as for seminal moments… Francesca Martinez’s calling out of the Government’s austerity policy (“blood on their hands”) on BBC’s Question Time remains my political highlight of the year (see @chessmartinez pic.twitter.com/3zQUDVLvOa )

The visibility and presence of disabled and Deaf individuals on our screens and stages is finally increasing, which feels like a triumph. I’ve written previously about the importance of representation (in 2012 for The Guardian here Howlround here ). All my professional career I have tried to write and make work that is inclusive and from a politicised disability perspective, challenging notions of normalcy and embracing all the possibilities of human variety. To witness so much talent and intelligence finally taking a rightful place on national platforms is extraordinary and deeply gratifying.

Many years ago I realised that one way I could help bring about change was to use the only power I have as a playwright – to write inclusive plays but also specific parts solely for Deaf and disabled performers. peeling (commissioned by Jenny Sealey for Graeae Theatre Company, first produced in 2002) was the first script where I insisted that the rights were only available to companies casting Deaf and disabled performers in the role. Since then I’ve turned down eleven requests for production from all over the world, when the directors have said “there’s no disabled or Deaf actors in our town/country/planet, and so we’ll cast hearing and non-disabled actresses who will, well, ACT…” Given that peeling is a meta-theatrical play, with performer/actress characters stating: “Cripping up: it’s the Twenty First century answer to blacking-up” I have often wondered how closely the actual script had been read by proposed producers.

Thankfully now, seventeen years on from its first production, there are companies producing the play with sterling Deaf and disabled casts. Taking Flight Theatre Company produced peeling earlier this year in a Wales-wide tour, garnering a 4 star review from The Guardian. They will be re-mounting the production for a tour of England this September – tour dates and information here.

Seattle-based Sound Theatre will present the American premiere of peeling this August. Helmed by director Teresa Thuman, peeling offers “a fresh, if not jolting, perspective.”

Sound Theatre production of ‘peeling’. Caroline Agee. Photo by Kellie Martin.

“Seattle has never seen a play like this before,” director Teresa Thuman states in the press release (reproduced at the end of the post). “The very nature of theatre is to expose and make public all that is human – in every form, every ability. For those who live on the margins, theatre is a way to bring them to the center as fully human beings.”

This notion of putting disabled and Deaf figures centre-stage was at the heart of my co-written text, ‘richard iii redux OR Sara Beer Is/Not Richard III’. Taking Shakespeare’s ‘Richard III’,  the veritable poster-boy of disability-as-the-emodiment-of-evil as inspiration, co-writer and director Phillip Zarrilli and I set out to reclaim historical Richard and ‘re-crip the crip’, as I put it in an essay for Howlround (‘Cripping the Crip’).
Written for long-term collaborator performer and disability activist Sara Beer, we wanted to put her centre-stage in a complex multi-layered solo, where she plays multiple fictional personas alongside an investigation into the historical Richard and Shakespeare’s ‘monstering’ of him.
We’re delighted to be able to reveal this week that ‘richard iii redux OR Sara Beer Is/Not Richard III’ has been shortlisted for the 2019 James Tait Black Award for Drama.

 

“The James Tait Black Memorial Prize for Drama celebrates innovative drama produced worldwide. The prize is presented annually for the best original play written in English, Scots or Gaelic and first performed by a professional company in the previous year. The £10,000 prize is open to any new work by playwrights in any country, and at any stage of their career. The accolade was launched in 2012, when Britain’s longest-running literary awards—the James Tait Black Prizes—were extended to include a category for drama.

The play is a riotous one-woman piece promoting inclusivity in the arts and written from a radical disability perspective.  It challenges Shakespeare’s representation of the disabled monarch and the creation of ‘the twisted body/twisted mind’ trope, satirising the non-disabled actors who have ‘cripped up’ to play the part in the past.

The panel includes students and academics from the University of Edinburgh, representatives from the Traverse Theatre, Playwrights’ Studio, Scotland, the Royal Conservatoire of Scotland, Schaubuhne Theatre, Berlin, and freelance theatre director Pooja Ghai.

‘This year’s shortlisted plays deal with some of the most pressing issues facing the world today. The innovation demonstrated by each playwright is truly astounding and I would like to congratulate each of them for being nominated for this esteemed international prize.’         Chair of the judging panel Greg Walker Regius Professor of Rhetoric and English Literature at the University

 The Award Ceremony will take place at the Traverse Theatre on Monday, 19 August, 2019 from 16:00-17:30. The other two finalists this year include two US plays: Slave Play by Jeremy O. Harris and Dance Nation by Clare Barron.The ceremony will include readings of excerpts from each of the three finalist plays, interviews with the authors, and announcement of the winning play.  Further details here.

This accolade in being shortlisted for this prestigious prize was what prompted my opening question and the title of this blog post – Has disability arts gone mainstream? I am encouraged that a piece of Crip’ culture has been shortlisted for such a ‘mainstream’ award, never mind it being a critical irreverent poke at The Bard and his damaging presentation of physical difference equaling evil, written from a radical disability perspective, with a tone defiantly feminist and Welsh. It is a credit to the unique judging panel of the award that work like ours is valued and promoted. Phillip, Sara and I are hugely excited and thankful about this nomination… but rather as one swallow doesn’t make one summer, one nomination, or one casting, or one appearance on Question Time doesn’t make us ‘mainstream’, or with fair and equal worth and opportunity. But we are trying, and kicking down those doors, and raising our hands and our voices to speak and sign and make ourselves, our stories, our talents, experiences and lives visible.
.
——-
PRESS RELEASE: Sound Theatre Company produces ‘peeling’, the U.S. premiere of landmark play about disability.

SEATTLE, WA—In the U.S. premiere of playwright Kaite O’ Reilly’s internationally renowned play peeling, Sound Theatre Company continues staging authentic narratives and breaking new theatrical ground. peeling weaves audio description, sign language, and theatrical spectacle into a no-holds-barred play about representation, women, reproduction, war, and eugenics. With brisk wit and domestic backstage comedy, O’ Reilly’s storytelling style has earned comparisons to Beckett and Caryl Churchill. In an overproduced, postmodern production of Euripides’ The Trojan WomenAlfa, Coral, and Beatty have been cast in bit parts to fulfill a playhouse’s misplaced diversity program; but as tokens, the trio never experiences true inclusion. Sound Theatre centers disability justice by assembling a production team and cast that brings authentic lived experiences to this groundbreaking production.

Following Sound Theatre Company’s 2018 season of Radical Inclusion,
this season explores themes of erasure. To wit, peeling probes at buzzwords like “inclusion,” “diversity,” “authenticity,” and “equal
opportunities” as an extension of Sound Theatre’s ongoing effort to spotlight talented theatermakers with disabilities.

WHAT: peeling, by Kaite O’ Reilly

WHEN: Previews August 8, 9 at 8PM Opening August 10, 8PM Continues through Saturday August 24, 2018

WHERE: Center Theatre at the Seattle Center Armory https://www.artful.ly/store/events/14170

CAST

Carolyn Agee – Coral                                                                                                     Michelle Mary Schaefer – Alfa                                                                                       Sydney Maltese – Beaty

ARTISTIC TEAM

Teresa Thuman – Director
Monique Holt – Assistant Director and Director of Artistic Sign Language Andrea Kovich – Dramaturg
Parmida Ziaei – Scenic Designer
Taya Pyne – Costume Designer
Adrian Kljucec- Sound Designer
Jared Norman – Projection Designer
Richard Schaefer – Lightning Designer/Technical Director
Robin MaCartney – Props Designer
Zoé Tziotis Shields – Wardrobe Crew, Sound Board Operator
Roland Carette-Meyers – Accessibility Coordinator
Francesca Betancourt – Movement Director

This writing life: Summer 2019

My mother always said that life offered a feast or a famine and never a steady balanced three meals a day which might keep our blood sugar and nerves steady. No, it was a juddering, shuddering rollercoaster ride, swinging from gluttony to a wafer and water diet, and I should always be ready for either.

This year so far has certainly been of a generous rather than miserly disposition. I’ve been immensely fortunate with productions and commissions in 2019/20 and pause now, just post-midsummer, with my head spinning and my belly fit to burst. This, I promise you, is not gloating – the famine months will be upon me again soon enough, and I know from past experience what bolsters me through those lean times is the memory of small celebrations when things were bowling along famously, thank you very much. Success and steady employment is scarce enough in this business, so should be celebrated when it dallies in the neighbourhood. But as my friend Chris reminds me, it isn’t entirely luck when things go well, but a reaping of the benefits of work we seeded long ago. And so like the cricket in the fable, I am singing in the sunshine, but also trying to be the ant and prepare for the future.

Aesop’s Fables, Unicorn theatre.

Fables have been very much a companion the past few months as my first small commission for Unicorn Theatre goes into production. “Working in theatre with young audiences is a total privilege and helps make you a better artist” Aesop’s Fables directors Justin Audibert and Rachel Bagshaw said in a recent interview and I totally agree.

My writing commissions when I was starting out were for young audiences, and the first thing I think about when approaching a new script is considering who will be experiencing the event I hope to create. It directs the story, tone, aesthetic and theatre style. After huge state of the nation plays about death, difference, diversity and disability, it was hugely enjoyable to return to thinking about a young audience, and how to select and make current one of Aesop’s Fables for The Unicorn Theatre’s summer production.

Jessica Hayles and Guy Rhys in ‘Dog and Wolf’ by Kaite O’Reilly, Unicorn Theatre. Photo: Craig Sugden

I chose ‘Dog and Wolf’, a little known fable from Aesop’s trove, as I needed to find something that could have resonance for contemporary times and one that could be political (as in the personal is political) rather than archaic or moralistic. Aesop is often associated with ‘the moral of the story is…’ but there’s no moral here, it’s a teaching, which is just as well, as I abhor moralising. I think it’s better to engage through raising curiosity or empathy rather than through the flawed binary of right or wrong. This pithy fable explores quite complex relationships and issues – of ‘ownership’, hierarchy, freedom, and work/life ethics and fitted my politics of preferring to be hungry and free than well fed but not owning yourself.

I hasten to say, my looping, punning, tongue-twistery treatment of the fable may indeed verge on the post-dramatic, but it’s not as worthy as my hand-wringing description, above, suggests. Co-directed by both Justin and Rachel, it appears in the repertoire for both age groups, 4-8 year old and 8-11 years, and runs until August.

I’ve been thinking a lot about perseverance and longevity in career of late. It’s largely due to mentoring two brilliant but vastly different creatives, Gemma Prangle and Lisette Auton. The conversations we’ve had are as instructive for me as them. We’ve been thinking about trying new processes and form, discovering voice and tone while trying to beat that old bug bear, imposter syndrome. Both women are phenomenally talented and forging ahead with new practice and projects. It’s an immense privilege to be going part of the journey with them, reminding them that no, there is no one way to do anything, and part of their task is finding what works for them, and to hell with all the advice and theories about how to… I’m sure I’m not the only one who wasted an inordinately long time worrying that my process wasn’t like what the manuals or the best-selling authors or the Oscar winning screenwriters said was needed to succeed and get ahead.

‘Just do it’, I said during an impromptu lecture with members from Youth Theatres of Ireland who attended a performance of my play Cosy at Cork Midsummer Festival. It’s not the first time I’ve been photographed outside a theatre with a large percentage of the audience, nor will it be the last time I’m suddenly press-ganged into an impromptu Q&A. I love it. It’s refreshing and invigorating to speak with our emerging practitioners and the future generation of theatre makers. These young creatives were spectacular, full of insight and curiosity, with a strong social and political conscience. Irish theatre is going to be just fine if these are the makers of the future.

Members from the Youth Theatres of Ireland with me outside the Firkin Crane, Cork, prior to a performance of ‘Cosy’ by Gaitkrash.

Cosy at Cork Midsummer Festival was delicious, a wonderful experience of working with six female performers, playing age 16 to 76, at the top of their game. The following short video interviews can give a taste of the company, Gaitkrash, and the lively dynamic whilst dealing with the subject of death from performers Regina Crowley, Mairin Prendergast and Pauline O’Driscoll https://vimeo.com/341828036

http://https://vimeo.com/341828036

The director, Phillip Zarrilli, has his own playful riposte on the subject. https://vimeo.com/345047366

http://https://vimeo.com/345047366

July continues being female-collaborator led, with research and development on a new commission from Wales Millennium Centre, building on my 2017/18 Major Creative Wales Award from Arts Council Wales which had me exploring ‘The Performative Power of Words with Music.’

Sophie Stone and Rebecca Applin in rehearsal in Wales Millennium Centre

Working with long term collaborators composer Rebecca Applin and performer Sophie Stone is an absolute dream, and I will be opening up more about this innovative project later in the Summer.

Meanwhile also in July is the book release of ‘Persians’, winner of theTed Hughes Award for new works in poetry, published by Fair Acre Press.

We will be having a Poetry Party on 1st September at Mid Wales Arts Centre – celebrating ‘Persians’ and the publication of brilliant poet Chris Kinsey’s ‘From Rowan Ridge’, also published by Fair Acre Press. The event is free, and will feature readings from our new books, plus a host of invited poets from across Wales.

Persians’ will be published by Fair Acre Press on 29th July 2019, but advance copies can be ordered from the publisher here. It will also be available via Amazon, online, and all good bookshops from the publication date.

I also have other launch events and workshops happening in early September, with a few places left on my masterclass in adaptations at Small World Theatre, details here.

 

Launch and workshop:

I will be launching Persians in Cardigan at Small World Theatre on 7th September, following a workshop on adapting ancient texts:

Singing the old bones –  new stories from ancient texts. 
Revisiting older stories can be a masterclass in narrative. Myths, fairystories, epics from Ancient Greek drama and the oral tradition survive as they seem to speak to each age anew. These archetypal characters and narratives inspire and invite constant reinvention, yet the old bones remain true. In this practical workshop we will retell, remake and renew, participants exploring individual perspectives on timeless themes, reshaping ancient tales to illuminate something contemporary. The tutor, Kaite, is a repeat re-teller, creating to date three very different performances on the story of Blodeuwedd from The Mabinogion, and a new version of Aeschylus’s Persians,the oldest verse drama in the Western tradition, which won The Ted Hughes Award for New Work in Poetry.
We ask participants to come with a myth, fable, ancient drama or story, which we will use to explore the fundamentals of story making: theme, structure, setting, dialogue and character. Through examples of Kaite’s diverse approaches to reinventing existing texts, we will make our own, sparking a new cycle of telling and retellings, seeding work which could be developed further beyond the masterclass.
.
Workshop 2-5pm on 7th September 2019, £25.
Small World Theatre | Theatr Byd Bychan
Cardigan | Aberteifi, SA43 IJY
.
Booking:
sam@smallworld.org.uk
01239 615 952
smallworld.org.uk
twitter: @theatrbydbychan
Numbers are limited and already almost sold out, but plans are afoot for a further workshop/event in November 2019 at the same venue. 
After the workshop:
.
Launch of ‘Persians’ Kaite O’Reilly’s new version of Aeschylus’s classic verse drama. 6pm. Free entry.
Kaite will read from the verse drama and speak about the historical and contemporary contexts of this extraordinary text. There will be a book signing after the reading and launch.

 

It’s Delightful… It’s Delectable…. It’s Disability…

Posters, slogans and imagery from the Disability Arts Movement, launch of NADACA

What a few days it’s been! As one of the patrons of DaDaFest, I was honoured to attend part of the 2018 DaDaFest International Festival in Liverpool this December 3rd – the international day of disabled people. Flying in from Norway, where I’d been part of The Elders Gathering at Norwegian Theatre Academy in Fredrikstadt, I landed immediately into a discussion about the past, future and present of disability arts. Editors Colin Hambrook and Trish Wheaton of the very excellent Disability Arts Online led a provocation which was live and live-streamed, asking Are we in an era post-disability arts? I personally feel we are not (I almost wish we were, but equality and inclusivity have much further to go before I’m giving up on this provocative, innovative cultural expression) and some lively discussion was had by all. Trish and Colin’s original provocation is available here and I would highly recommend it…

Introducing the discussion was the ever powerful Allan Sutherland and his radical poetry transcription work – ‘Transcription poetry as a vehicle for documenting the lives of disabled people’. Allan performed ‘Thalidomide Acts’, a cycle of transcription poems based on a series of interviews with the performer Mat Fraser.

Mat Fraser in action… Photo courtesy of D4D. http://d4d.org.uk/thalidomide-acts-mat-fraser-electric-bodies/

‘Thalidomide Acts’ is the first outcome of the ‘Electric Bodies’ strand of the D4D project: Disability and Community: Dis/engagement, Dis/enfranchisement, Dis/parity and Dissent. This is an AHRC-funded research project which investigates the evolving ways in which we as disabled and non-disabled people express, perform, experience and practice ‘community’. Allan’s fantastic presentation was ‘responded to’ by his colleague on the project, the great Colin Hambrook.

The afternoon progressed with two more titans of our movement, Tony Heaton and David Hevey (Chief Executive of Shape Arts), launching the National Disability Arts Collection and Archive (NDACA) – some wonderful provocative art archived, remembered, and celebrated. Tony selects his top five pieces of disability art here 

Again, I would hugely recommend a visit to the archive at www.the-ndaca.org: Telling the Heritage story of the Disability Arts Movement.

My extraordinary December 3rd continued with the UK launch of my latest collection of fictional monologues written specifically – and solely – for D/deaf and disabled performers, inspired by lived experience.

 

I was thrilled to introduce and launch ‘The ‘d’ Monologues’ at Unity Theatre, Liverpool, with a sterling cast of unexpected readers – and by that I mean few of them were ‘officially’ performers – but highly experienced public speakers, provocateurs, educators and activists…. major figures from the disability movement and disability and D/deaf cultures. I was honoured to have my words in the mouths and hands of the artistic director of DaDaFest, the brilliant and talented Ruth Gould; sculptor, visionary and disability arts activist Tony Heaton, senior Unlimited producer and diversity guru Jo Verrent and the magnificent director, writer, performer, firebrand and general all round mayhem-maker Julie McNamara appeared via video. Further input on film came from excerpts from my recent Unlimited International commission ‘And Suddenly I Disappear’ with the sublime Sophie Stone (featured on the cover of my book, above) and emerging artist, beatboxer, rapper Danial Bawtham, contributing from Singapore.

The collection was well and truly launched, and with such magnificence from all my contributing readers… Thank you, I am so grateful (and not nearly as hung-over as I anticipated…).

A 30% discount on the full price of The ‘d’ Monologues may still be available via the website, with code DMONO30 at https://www.oberonbooks.com/the-d-monologues.html

Returning to Wales, I was delighted to receive the poster for a student exploration of my post-dramatic text about the brilliant Frida Kahlo the 9 fridas.

Poster of the 9 fridas by Kaite O’Reilly – an exploration by students from University of South Wales

In the programme notes written to accompany the experimentation, I wrote:

I’ve been obsessed with Frida Kahlo for most of my life. I first came across her startling, uncompromising self portraits in my teens and quickly joined the ranks claiming her as inspiration and a disability icon. We were the community of freaks, crips and ‘difficult wo/men’ (and i reclaim these terms and use them admiringly) who were frustrated by traditional representation which invariably reduced Kahlo’s fierce and multilayered life to one of tragedy. Disability has long been used in the western theatrical canon dramaturgically – what David Mitchell and Sharon Snyder describe as “narrative prosthesis” – and as a metaphor to explore nondisabled values and fears. This astonishing and powerful woman has numerously been presented as a little broken betrayed wife, reduced to an ableist heterosexual cliche. ‘the 9 fridas’ is a response to these narrow depictions.
From my close study of her paintings, biography, personal letters and journals, I began to understand quite how remarkable her life and art were, and remain. I began to note her multiple identities and their inherent paradoxes: a communist who embraced consumerism and appeared on the cover of Vogue; an artist claimed by the Surrealists who insisted that what she painted was her own reality; a promiscuous bisexual monogamist who longed for a traditional family; a ‘fem’ who cross-dressed and darkened the hairs of her monobrow and top lip…She identified her cultural heritage as pre-Colombian indigenous on her maternal side and European Jewish on her paternal line and herself as a citizen of Mexico and the world. A life-long radical, she refused to allow her childhood polio and the devastating road accident aged 18 to limit her activities and ambition. The invalid in a full-body plaster cast hidden away in the back room of her childhood home had a mirror hung above her bed and picked up a brush and changed art… Her story is defiant, she is the protagonist of her own life (‘I give birth to myself’) who constantly broke out of the restrictions of her gender, disability and age.
In response to the reductionist depictions of her life, I decided to write ‘the 9 fridas’ with a mosaic dramaturgy – multiples of figures who both are and are not Frida Kahlo – each figure with distinctive detail and perspective, but which, when combined, would give the ‘full’ and whole picture of her many-faceted self.
I’m delighted that the students presenting this exploration are claiming both the text and Kahlo as their own…. and can’t wait to experience THEIR 9 fridas….
.
Hours after writing these words (on a train travelling from Norway to Liverpool), I opened up negotiations for a possible production of the performance text in Spanish in Costa Rica next year. Despite the text having been translated into several languages, the only other professional production to date is the world premiere, directed by Phillip Zarrilli for Möbius Strip and Hong Kong Repertory Theatre at the 2014 Taipei International Festival, later transferring in 2016 to Hong Kong. It is a huge delight that the text is being picked up and proving of relevance to our current and future generations of theatre makers.
.
The final course in this extraordinary banquet of disability arts and culture came this morning, with the audio trailers for Taking Flight’s 2019 production of my play ‘peeling’. Both texts – ‘the 9 fridas’ and ‘peeling’ are published in my collected ‘Atypical Plays for Atypical Actors’ by Oberon.
I will be writing further about Taking Flight Theatre Company’s production – directed by Elise Davison and produced by Beth House – with news of the cast, our dates and opportunities for engagement during the tour (I will be doing some post-show discussions for some of the Welsh dates). I am also going to lead a workshop for women leading up to the opening – more details later, as they emerge.
The production opens on International Womens’ Day, 8th March 2019, at The Riverfront, Newport, then touring Wales, with an English tour in autumn 2019.
Here is the English language audio trailer:

In shadow, never centre stage, 3 performers await their brief moment in the light. But who would want to explore these bodies? Who will receive their stories? Their words have been buried in dust, through the long corridor of time. We will unearth them here. We will hear them echo in the darkness.
This city will fall.

Alfa, Beaty and Coral wait… wait while once more the action plays out elsewhere. Once more they form the chorus to someone else’s lead.
But… this city will fall.

With interwoven BSL, live audio description and English captions at every show, peeling challenges you to experience theatre afresh. Whose stories do we tell? And who will be there to bear witness?

Here is the Welsh language trailer – and we will no doubt have posters, flyers, and BSL trailers soon!
What an incredible end to a year – and a sense of such engagement and interest in disability arts and culture…..

The d Monologues published by Oberon

It’s been quite an autumn, and the leaves are still burnishing the trees… September has been a blaze of touring, festivals, and launches. My Unlimited International Commission And Suddenly I Disappear: The Singapore/~UK ‘d’ Monologues premiered at the Southbank Centre in London prior to a whistle-stop tour taking in Leicester, Oxford, and Cardiff, garnering 4 and 5 star reviews along the way – more of which in a future blog.

The Llanarth Group brought richard iii redux to Grenzenlos Kulture Festival in Mainz, Germany, where I launched my latest publication after the performance.

The d Monologues is the culmination of ten years work, featuring solos I have written specifically for Deaf and disabled performers, varying in length from audition-size 3 minutes monologues to the 70 minute one woman show richard iii redux co-written with Phillip Zarrilli. Monologues from my recent international collaboration are included in the book: And Suddenly I Disappear, along with In Water I’m Weightless, my Cultural Olympiad production with National Theatre Wales, featuring extended, new, unperformed and previously unpublished monologues. It also has A Preface in Three Voices, written by John E McGrath, Ruth Gould and Jo Verrent. Below, an excerpt from the introduction.

For a limited time, the collection is available from the Oberon website with a 30% discount, using code DMONO30

The ‘d’ Monologues by Kaite O’Reilly.

 from The Introduction

I like to think of theatre as a place of communication and exploration, of dissent and inquiry: a place of dreaming, of solving, of challenging the present and imagining the future. It’s that communal place where we can express all the possibilities of what it is to be human – so why are the majority of representations still so limited in scope and variety, and the potential of those bodies so prescribed?

I have been angry most of my life. Identifying as a working class Irish immigrant disabled female creates a certain kind of friction, a blistering energy I’ve found best directed into creative pursuits. Some years ago, somewhere along my raging, cursing way, I encountered Gandhi’s advice about being the change you want to see, and so the project The ‘d’ Monologues was born.

These collected solos are the culmination of a decade’s work trying to instigate change through writing work specifically for D/deaf and disabled actors, ‘answering back’ to the largely negative representations of difference in our media and the Western theatrical canon.

Since the Ancient Greeks disabled characters have appeared in plays, but rarely have the writers been disabled or written from that embodied or politicised perspective. The vast majority of disabled characters in the Western theatrical canon are tropes, reinforcing limited notions of what it is to be ʻnormalʼ rather than broadening the lens and embracing all the possibilities of human variety. So prevalent is the atypical body in our stage and TV dramas, the audience(s) assume they know and understand the realities of disabled and D/deaf individuals’ lives, yet few of these narratives are informed by lived experience, and so misconceptions and ableist notions of difference, shaped by the medical and charity models of disability, are reproduced and reinforced.

I wanted to make work solely for disabled and D/deaf performers, informed by the social model of disability. Like gender, I believe that disability is a social construct, and it is the physical and attitudinal barriers which disable us, not the idiosyncrasies of our bodies.

This collection is the culmination of ten years work, with fictional monologues inspired by over 100 interviews, conversations, and interactions with D/deaf and disabled individuals internationally. It brings together new and previously unperformed texts alongside monologues from In Water I’m Weightless (National Theatre Wales/Cultural Olympiad 2012), the 70 minute one woman show richard iii redux, and the multilingual, intercultural And Suddenly I Disappear.

I’ve always loved the notion of disabled and D/deaf performers all over the world presenting with pride and political urgency performance texts which did not reduce them to parodies, metaphors, villains, or inspiration porn stars – different narratives using alternative dramaturgies, theatre languages and channels of communication. These texts did not exist, so following Gandhi’s advice, I decided to be the change I wanted to see.

To buy the collection with a 30% discount, go here and enter the discount code DMONO30 at check out. This code is available for a limited time.

‘I write disabled characters who aren’t evil, piteous, or helpless.’ Read an interview with Kaite in The Guardian Society here

 

Diversity, d/Deaf, difference, disability…. Have the ‘d’ words become dirty with overuse?

Daniel Bawthan performing in Kaite O’Reilly’s ‘And Suddenly I Disappear’. Photo by William AS Tan

‘Diversity’s just lip-service. A meaningless phrase flung around everywhere, without meaning anything.’ Or so I was told yesterday, in a discussion with a disgruntled friend, disillusioned about what’s being done to the ‘d’ word. ‘It’s become trendy, and a way to attract funding,’ he gloomily concluded. ‘I’m tired of all these people who never had any interest in the Deaf or disabled communities before, or people from different backgrounds, ethnicities, sexual or gender identities, now jumping on the bandwagon just because it’s fashionable and there’s potential funding.’

It was a serious conversation, and at times tough, but unlike my friend (a seasoned theatre maker who, like me, has a long history in disability arts), I’m not as disheartened, owing to my recent experiences. I’ve been fortunate to have been party to some excellent work, full of integrity and engagement around this particular consonant. Earlier this year I was working in both Singapore and Hong Kong with organisations and individuals who really want to challenge the lack of diversity in organisations, cultures, and positions of leadership. For me the latter is essential – the work really needs to be led by those under-represented individuals, and the power structure needs to change, as otherwise the same-old, same-old endures. This I think is what troubles my friend – work coined ‘diverse’ which may cast A.N.Other, but in reality is shallow or tokenistic, with no alternative perspectives or content.

The ‘d’ word has been central to my work these past years, and especially most recently with ‘And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues’, touring the UK this September after its premiere in Singapore last May. This is work that is Deaf and disabled led, celebrating all the ‘d’s of diversity and difference.

I began working on the project which has become The ‘d’ Monologues back in 2009, with a Creative Wales Award from Arts Council Wales. I wanted to explore the form of the monologue as a means of creating work for a more diverse cast. Tired of non-disabled actors ‘cripping up’,  I set out to write solos and multiple character texts specifically for d/Deaf and disabled performers – what I later went on to call ‘atypical actors’ in my first collection with Oberon.

And Suddenly I Disappear by Kaite O’Reilly. Ramesh Meyyappan, Peter Sau, Lee Lee Lim, Grace Khoo, Sara Beer. Photo William AS Tan.

These were monologues informed and inspired by lived experience, telling stories that perhaps were not so familiar, from a d/Deaf and disability perspective – the original ‘d’ of the monologues – but as time passed and this body of work grew, so too has what the ‘d’ may stand for…. diversity and difference, yes, but how also about defiance, desirable, distracting and delectable? As I wrote for Singaporean rapper/beat-boxer Danial Bawthan in And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues:

“This body…. This body is dangerous. It desires, it delights, it delivers, it dances..”

Exploring other ways of considering our bodies and what it is to be human has been at the heart of my writing for this almost decade-long project. Imagination has played a large part, but so too has anonymous questionnaires and interviews I’ve led since 2009 across the UK with disabled and d/Deaf people and recently in Singapore led by my collaborators Peter Sau and Lee Lee Lim, amongst others.  These conversations about difference have inspired and provoked the fictional monologues I’ve written – I’ve never used anyone’s story or actual words, for that seems to me like theft – but I’ve been directed by and provoked by the many perspectives and multi-voicing it has been my great privilege to be privy to.
.
We premiered the fruits of this dialogue between Wales/UK and Singapore at the Gallery Theatre, National Museums Singapore in May 2018, and will bring a revised version, with largely the same DNA, but with some new monologues (and performers) to the UK in September. Singaporean collaborators Grace Khoo, Peter Sau and Natalie Lim will travel to the Unlimited Festival at London’s Southbank Centre in early September, reuniting with Ramesh Meyyappan, Sara Beer, director Phillip Zarrilli, and myself. We will then join with Macs Mackay and Garry Robson, bringing new monologues and energy into the ensemble.
 And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues were always imagined to be a moveable feast – a series of contrasting monologues which could adapt and change according to the venue size, cast and situation. It’s with a heavy heart we leave some of our amazing Singapore-based collaborators behind, but they will have mediatised presences, alongside UK-based performer extraordinaire Sophie Stone.

Tickets are now available for the UK tour:

5-6 September Southbank Centre’s Purcell Room, London tickets
8 September Old Fire Station, Oxford, tickets
9 September Attenborough Arts Centre, Leicester, website
11-12 September Chapter Arts Centre, Cardiff, tickets
And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues

Video-trailer

I’m delighted that the collected ‘d’ Monologues will be published by Oberon in time for the tour. I’ll give further information about this, including various launches, readings and events, as it becomes available, but it is so exciting to think these texts will be widely available for others to use… to montage the monologues to make a full evening’s performance, to do script-in-hand readings, to use them as audition pieces, or my ideal: a sharing of monologues across the globe on the International day of the disabled person (also, please watch this space….).
‘The ‘d’ Monologues’ will also include the text to the solo performance richard iii redux, co-written with Phillip Zarrilli, originally for that diversity diva Sara Beer (pictured below in one of her personas from the show). The text deconstructs Shakespeare’s villain and challenges the cultural link since Shakespeare’s time between atypical bodies/disability and evil. We also ask wider questions about the nature of performance, representation of difference and the rewriting of history by the Bard – with lots of subversive fun along the way, exploring how Richard has been ‘cripped’ in the past.

Sara Beer in ‘richard iii redux’ Panopticphorography

You can access the fantastic reviews here and potentially catch the show if you are in Mainz, Germany, in September.  We’re delighted that richard III redux heads to Mainz for a performance on 20 September, 2018 as part of this year’s Grenzenloskoultur Theater Festival (‘Theater without Boundaries’), Mainz Kleines Stadt Theater, Germany.
We hope to have the production back on the road in 2019, but until then, here’s the delight of Sara Beer in the richard III redux TRAILER.
As to the issues of ‘diversity’ and whether the ideal is being tarnished from casual over-use…. As a playwright all I can do is keep on exploring what it is to be human, and to question our hierarchies, our power dynamics, and the (mis)representations that can become common currency. Artists and theatre makers identifying as Deaf and/or disabled are presenting work on an unforeseen scale (thanks also to initiatives like Unlimited and DaDaFest) and I can only applaud and encourage this, chivvying on the so-called ‘under-represented’ to be the makers and the directors and the leaders of the future. Whether the word becomes undervalued or not, true diversity will arrive with an expansion in the identities, experiences, politics, ethnicities and bodies of those holding the reins – and perhaps the work of those currently in control is to move aside a little, or learn to power-share.

 

Singapore rehearsal diary for New Welsh Review….’And Suddenly I Disappear….’

What follows in an excerpt from my rehearsal diary, commissioned by New Welsh Review, documenting part of my process working in Singapore this Autumn on ‘And Suddenly I Disappear… The Singapore ‘d’ Monologues’, my international r&d commission from Unlimited. I am immensely grateful to New Welsh Review for providing this feature free – see more on the journal at https://www.newwelshreview.com and here

Stephanie Fam performing in Kaite O’Reilly’s international r&d Unlimited commission ‘And Suddenly I Disappear… the Singapore ‘d’ Monologues’ before a still image of Sophie Stone using visual language, Photograph: Kaite O’Reilly

 

 

18/9/17:

We arrive into Singapore at the end of the Month of the Hungry Ghosts. Flaming braziers sit on street corners and outside temples. Paper money from the Bank of Hell and small cardboard models of cars, smartphones, booze, cigarettes and all the trappings of the good life are set alight in the braziers as offerings to the dead ancestors. Zhong Yuan Jie is the period in the seventh month of the lunar calendar when the gates of the underworld are opened to allow the souls of the dead to roam the earth. Relatives burn offerings to appease their deceased family members, ensuring they don’t become ‘hungry ghosts’ up to mischief, jealous of the living and what they have.

Even in its Taoist and Buddhist rituals, Singapore is commercial, taking care of material needs into the afterlife.

We – performer Sara Beer, director Phillip Zarrilli and I – are here for the r&d of  my collaboration between Wales and Singapore, ‘And Suddenly I Disappear… The Singapore ‘d’ Monologues’, an Unlimited International Commission and dialogue about disability, diversity and difference from opposite sides of the world.

Singapore is a young nation, a high-functioning capitalist culture valuing commerce and uniformity, where, my producer Grace Khoo tells me, she was raised ‘not to ask questions, to keep my chin down and not to stand out.’ It is recently embracing notions of diversity and inclusion, but its awareness of disability issues and culture are very much in its infancy. How challenging atypical embodiment, disability politics, the aesthetics of access and what I call ‘alternative dramaturges nformed by a d/Deaf and disability perspective’ may be here, I’m about to find out.

The UK has a long and proud history of disabled peoples’ activism, something Sara Beer and I have been engaged with for decades. Our background is punkish, proud and irreverent – ‘nothing about us without us’ is one of the Disabled Peoples Movement’s slogans – ‘Piss on Pity’ another, a badge I still wear. How this will fit with the ultra-conservative Singaporeans and a system that would not have tolerated our direct action of the 90s remains to be seen. A fascinating conversation is in the process of happening.

20/9/17:
We rehearse at Centre 42, a heritage house in downtown Singapore, greeted by my main collaborator, Peter Sau, and herbal teas from the local Chinese medical hall to help counter the excessive humidity. Peter is an award-winning actor and theatre maker, and a friend since my first visit to Singapore in 2004. He and producer Grace came to the UK in 2016 in order to explore disability arts and culture, with the aim to professionalise it in Singapore .

Some of the ‘And Suddenly I Disappear…’ team, including Sara Beer and Ramesh Meyyappan, Lee Lee Lim, Danial Bawthan and Shai outside Centre 42, Singapore.

Together we made an application to Unlimited, building on the model I developed from my 2008/09 Creative Wales award. Then, advised by Eve Ensler and Ping Chong, I explored the form of the monologue, interviewing d/Deaf and disabled people across the UK, using their perspectives, experiences, and opinions as inspiration to write fictional monologues. These were later produced as ‘In Water I’m Weightless’, the National Theatre Wales/Unlimited production, part of the 2012 Cultural Olympiad. It’s important that I write the texts rather than ‘steal’ from the source material, for what are we but our stories? I prefer to invent. This also ensures that the material cannot be individualised, reduced down to one person’s unfortunate experience rather than a synthesis of the collective experience of prejudice we are all complicit in.

In Singapore, Peter and his dedicated team of researchers, transcribers, and translators are partway through intensive interviews with disabled and d/Deaf Singaporeans. These are stories that have gone unremarked and unreported. Despite the new focus on inclusivity and diversity, ingrained beliefs linger, and in many ways difference and disability is shameful in Singapore, so several of our interviewees, although eager to contribute, request anonymity.

The recordings and transcripts of the interviews are remarkable, Peter and his colleagues have eked out conversations of candour and passion. As I write the drafts I’m reminded of my own ‘coming out’ as a disabled person and personal revolution after meeting the social model of disability, which turned everything I previously knew upside down. I’d been reared on the Medical Model, where the body is at fault, requiring medicalisation and normalisation. The social model sees disability, like gender, as a social construct, and it is society and its physical and attitudinal barriers which are disabling, not the body itself. Value is given where previously there was none.

It is no surprise then that many of the conversations ongoing in Singapore prompt tears and extraordinary openness from people so often denied respect. How daunting and exhilarating then is my task – to write fictional work responding to this stimulus, and begin work on embodying these voices.

22/9/17:

Ideas from the interviews are reversed or reinvented, Peter, Grace and Lee Lee Lim advise me on the use of Mandarin, Hokkien and Singlish vocabulary, which help make the rhythms and cadences of the dialogue more Singaporean. The collaboration is shaping into a dialogue, resulting in a series of vibrant, multimedia monologues inspired by lived experience, layering theatrical languages and utilising captioning, integrated audio description and visual language in the aesthetics of access, a first for Singapore. We realise there are seven spoken and signed languages in use in the rehearsal room, reflecting the multicultural diversity and linguistic complexity of Singapore. I feel we’re exploring how stories change in different cultures, languages and contexts…. How do we ‘speak’ to each other?

25/9/17:

I write a choral monologue to be explored in spoken, projected and visual language.

Be like water. Be like a river. You dip a bowl into the river and the river fills it and becomes the bowl. Pour into a pot, it becomes the pot. Treat with fire and it becomes steam…. This is how you will be. Unstoppable. Fluid. Powerful.
.

The day I need to submit this diary, just one week after meeting and four days before our in progress sharing, the inclusive company has come together with a startling cohesion. Peter’s team is filled with committed individuals keen to bring about change. Monologues that seemed too edgy and politically challenging on first reading now rise off the page, owned. The sense of pride and celebration is tangible. Sara asks Danial Bawthan, one of our emerging disabled performers, how he is finding the process. ‘Priceless,’ he says. ‘I want to be that water, the water that goes into that bowl.’

Five languages, spoken and signed: at work on ‘The Singapore ‘d’ Monologues’

Ramesh Meyyappan and Sophie Stone ‘The Singapore ‘d’ Monologues’ by Kaite O’Reilly, an Unlimited International Commission

I have known performer/visual director Ramesh Meyyappan since 2004, when I saw his non-verbal physical theatre adaptation of Edgar Allen Poe’s The Tell Tale Heart at The SubStation in Singapore. Since then our paths have continually crossed – at DaDaFest in Liverpool in 2005 shortly after he relocated to the UK, at the Vienna Deaf Theatre Festival around 2006, where I was presenting a paper on my work and was able to participate in his performance workshop. Over the years we have continued to meet, building a friendship and an appreciation of each others’ work. I’ve longed to work with Ramesh since I first saw him on the stage thirteen years ago…. and finally it is happening, in a project which unites the place where we first met with the place we now live.

Ramesh is a performer and visual theatre director for my Unlimited International Commission And Suddenly I Disappear: The Singapore ‘d’ Monologues

I am immensely excited about his involvement in this ambitious project, an international dialogue about disability, Deaf experience, diversity, and difference, from opposite sides of the world. I will be writing future blogs reflecting on our process – it is complex, a multi-layered project involving grassroots engagement and research. My collaborators Peter Sau and Lee Lee Lim, plus other members of the Singapore team are amassing material from interviews  which are inspiring the fictional monologues I am writing. Time is short… We will soon be combining the UK and Singapore teams, collaborating in September to present r&d sharings at Centre 42 in Singapore.

Ramesh Meyyappan and Sophie Stone in T’y-n-y-Parc Studio. The Singapore ‘d’ Monologues

This project has allowed me to indulge in playing ‘fantasy cast’…. Once I knew Ramesh was on-board, I knew I had to bring him together with Sophie Stone, a long-term collaborator who I have written parts for in my Unlimited Commission/National Theatre Wales 2012 production In Water I’m Weightless and Kirstie Davis’s production for Forest Forge Woman of Flowers (2014). I also suspected that these two innovative artists wanted to work together – so to be able to bring them together at our initial exploratory workshop at The Llanarth Group’s T’y’n-y-Parc Studio in beautiful west Wales was a dream.

Unfortunately owing to other work commitments, Sophie is not able to travel to Singapore with us in mid September, so we were sure to capture her presence through the project’s filmmaker, Paul Whittaker. The project will combine live camera, pre-recorded material with live action, so it was excellent to film Sophie so she can join us in the r&d as a mediatised presence.

Sophie Stone

This initial weekend of exploration in early August 2017 enabled me to try out emerging material and experiment with multiple languages. Completing the company was director Phillip Zarrilli and performers Grace Khoo, and Sara Beer.

I had given text to the company to translate or reinvent in different languages in advance of our workshop: Sara into Welsh, Grace into Mandarin, and Sophie BSL and visual language, Together  with Ramesh using Singapore Sign Language, we layered five spoken and visual languages together, resting on the baseline of English.

One of the monologues – ‘What Not To Say To A Person Who Is Depressed’ – was explored as an ensemble, simultaneously cutting between BSL, Welsh, English, Mandarin, and ‘Singlish’ – a variety of English spoken in Singapore incorporating Chinese and Malay. I began to appreciate the possibilities of humour as well as poignancy in this multilingual experimentation.

Grace Khoo, Sara Beer, Sophie Stone in rehearsal. The Singapore ‘d’ Monologues by Kaite O’Reilly

It was a phenomenally creative weekend, experimenting with multiple languages and form. Ramesh started creating a physical ensemble piece, responding to texts I had sent him and some extracts from some of our research interviews, and we had a chance to discover collaborative modes.

Sophie will of course be hugely missed when we gather in Singapore in a month’s time – but at least we will have her digitally….. and I can’t wait to get the full company together to start this creative and cultural dialogue.

For more information on Unlimited, go here.

Commissioned and supported by Unlimited, celebrating the work of disabled artists, with funding from Arts Council of Wales and British Council.