London's pantomimes are embracing a unique approach to ensure that the magic of Christmas reaches every family. With a focus on inclusivity, these performances are tailored to accommodate individuals with sensory or learning differences, offering a more relaxed and accessible experience. But here's where it gets controversial: is this the future of theatre, or a step too far in catering to specific audiences?
The concept of relaxed performances is simple yet transformative. By adjusting lighting, sound levels, and special effects, these shows create a more welcoming environment for those who might find traditional theatre overwhelming. Audiences are encouraged to come and go as they please, talk or make noise, and even use breakout spaces if needed. This flexibility is a game-changer for families with children on the autism spectrum, those with sensory sensitivities, or anyone who finds strict theatre etiquette challenging.
At the Churchill Theatre in Bromley, senior technician Heather O'Donnell explains their approach. "We explain to the audience that the actors are pretending," she says. "It's all those sorts of things you might take for granted, but some people may get lost in it and think there's a real threat." Strobing lights and sudden flashes, often used for dramatic effects, are replaced with softer transitions, and pyrotechnics are turned off, ensuring a more comfortable experience for all.
Lisha, a Westminster resident, and her son Lumen, a 13-year-old with autism, have become regular attendees at these relaxed performances. "The best thing for me is that there's no judgment from other attendees," Lisha says. "Everyone is on the same page. All the parents have gone through similar experiences." Preparation is key for Lisha, as she receives detailed "social stories" before the show, helping her son understand the venue layout and what to expect.
Su Pollard, a beloved TV personality, is a strong advocate for relaxed performances. "It's lovely because you can see a lot of people's faces," she says. "Normally, it's complete darkness - you can probably see the first two rows and that's it." For Su, the essence of pantomime remains unchanged: "Good triumphs over evil - that's the basic story of any pantomime."
The New Wimbledon Theatre takes relaxation a step further, offering a chill-out space with sensory toys and clear pictorial signage. Extra staff guide visitors, and familiarisation visits help reduce anxiety. Magician and comedian Pete Firman, who stars in Wimbledon's Robin Hood performance, notes the subtle differences: "A lot of my stuff is talking directly to the audience and a lot of interaction."
Behind the scenes, charities like John Lyon's Charity are playing a vital role in making these performances accessible. By offering free tickets, they ensure that families from diverse backgrounds can experience the magic of pantomime. Anna Hodinott, director of strategic grants, emphasizes the importance of consulting families before and after the shows, co-producing, and co-creating these experiences to ensure true inclusion.
But is this the future of theatre? Some may argue that catering to specific audiences dilutes the universal appeal of the arts. However, the response to relaxed performances has been overwhelmingly positive, with families expressing gratitude for the opportunity to enjoy festive traditions together. As society moves towards greater inclusivity, the choice to offer flexible performances becomes increasingly important, ensuring that the magic of theatre is accessible to all.
