A satire of pandemic hoarding, Caca-Capitalismo is not only a delight – Olivia Muscat says that it’s a model of accessible dance
disability arts
-
-
Disabled actor and theatre maker Kate Hood, blind writer and critic Olivia Muscat and able-bodied writer Emilie Collyer have a wide-ranging conversation about disability, opportunity and the arts sector
-
A Normal Child evokes the ‘awkwardness, contradiction and messy humanity’ of the question of representation, says Robert Reid
-
Back to Back Theatre’s The Shadow Whose Prey the Hunter Becomes is thick with what is left unsaid, says Jane Howard
-
‘A love of life might not have been better depicted on stage than a lone person joyfully rollerskating naked’: Robert Reid on Andi Snelling’s Happy Go Wrong
-
Autistic critic Jess Flint reviews A_tistic Theatre’s Helping Hands, a show that explores how ‘help’ can sometimes be the opposite
-
How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts
-
When Tom Middleditch, a vocal advocate for neurodiverse representation on stage, saw Robot Song, his first response was rage. But then he changed his mind. This is what happened…
-
Yumi Umiumare’s Butoh work Forbidden Laughter shows that laughter isn’t always funny, says Philipa Rothfield
-
‘Disabled artists should be a priority for this industry. Many artists are already there creating work. They don’t need mentorships! They need money.’ Jessica Walton on the power of disability-led art
- 1
- 2