The theatre has long been celebrated as a space for unity. After the establishment of performance art in Ancient Greece, people from varied socioeconomic backgrounds would gather in vast open-air theatres to delight in a shared experience. For the duration of the performance, the audience could morph into a singular entity, regardless of social standing. Centuries later, the structure of the Globe Theatre in London promoted the same inclusivity, as the working classes were invited to view shows from the pit for just a penny. Given this history, a comparison of our current perception of the theatre begs the question: is theatre-going no longer aimed at society as a whole, but at a privileged minority?
There seem to be two main issues hindering the accessibility of theatre: prohibitively costly ticket prices and conditions catering exclusively to neurotypical and able-bodied audiences. To ensure equal opportunity, we must change the elitist and exclusive nature of the theatre.
Theatre encourages conversations around pressing social and political topics, and it is imperative that everyone has the chance to engage in it – particularly those directly affected by these issues. Take the award-winning musical, Dear Evan Hansen, performed at the Edinburgh Playhouse in July. Its plot alludes to neurodiversity and discusses mental illness, challenging stigma and opening dialogue about historically taboo subjects. Dear Evan Hansen focuses on themes of inclusivity and community, reinforced by the repeated affirmation, “you are not alone.” This is certainly a valuable message, yet there is irony in the fact that it fails to reach everyone – for most, a trip to the theatre is a rare luxury and for some, it is not possible at all.
Festival Theatre – located on Nicolson Street – is certainly paving the way for a future of accessible theatre-going. In 2023, the theatre introduced £10 tickets for people aged 11-25, thereby widening the reach of shows. These reduced tickets can be bought on the day of the performance and are bookable online, over the phone, or at the box office.
Efforts to welcome neurodivergent people and people with disabilities to Festival Theatre have also been made – captioned performances, audio description, and relaxed performances are available. Relaxed performances allow audience members to make noise, move around, and benefit from dimmed lights and softened sound effects. This initiative is a step in the right direction, as strict theatre etiquette and restrictive seating in most theatres would usually exclude neurodivergent and disabled audiences.
Another example of progress comes from Edinburgh’s Royal Lyceum Theatre, who are celebrating their 60th anniversary by performing in Edinburgh’s homes and workplaces under their Lyceum At Home initiative. The venue of each play is determined by ballot, with all residents being given an equal opportunity to host a performance. By involving locals so closely, the Lyceum signifies that theatre can be an inclusive part of community life.
I couldn’t conclude this article without mentioning the Edinburgh Festival Fringe, the world’s largest performing arts festival. The Fringe is the epitome of accessible theatre. This summer, there were more than 400 free shows throughout August, promoted by organisations such as PBH’s Free Fringe who aim to break down the financial barriers of theatre-going.
“Royal LyceumTheatre, Edinburgh” by Margaret Ferguson Burns is licensed under CC BY-SA 3.0.