This intriguing collection of essays, interviews and artist profiles, concerning disability in contemporary theatre, serves as a critical examination of modern theatre and its immersive and inclusive practices. It is clear from the outset that the editors have approached the creation of this collection in order to resist and disrupt the common assumption that disability and theatre must be coupled together as a form of therapy for its participants – as a creative outlet and for cognitive development only. As this anthology demonstrates, the breadth and depth of interaction between theatre and disability, via themes and narratives as well as artists and performers, is growing and analysis of the theatrical outputs is vital to develop practical and theoretical understanding of how disability theatre can impact twenty-first-century culture.
Peering Behind the Curtain is a book about art. It serves as a critical examination of contemporary theatre works and their treatment of disability (discourse and concepts) through their particular disciplines. Structured in two sections, the book begins with a compilation of essays written by contributing authors, commonly analysing a particular theatre work of the later twentieth century or exploring concepts within a specific theatrical context. Part Two takes a different turn, providing a more practically focused approach to the subject matter, with a collection of interviews, artist profiles and finishing with the transcript of Balance is Stillness, a play by James MacDonald. This binary structure offers variety in its content and its appeal, serving as a critical review of contemporary theatre work as well as providing practical examples, guidance and links that the reader could explore further, given the specificity of the contributed essays.
The elements contributing to Peering Behind the Curtain are seemingly organised according to similar features. For example, the opening two chapters both explore Deafness and theatre, with Kanta Kochhar-Lindgren examining the aesthetic of the National Theater of the Deaf in America, followed by Robert C. Spirko analysing the play Children of a Lesser God, exploring readings of it and successfully criticising the ableist experience that founds the work. The next three chapters focus on suffering in theatrical works, exploring the painful impact of medical science for a cancer sufferer, the intersection between race, sexuality and disease and also different images of afflicted bodies in Beckett’s body of work. Depression leads the following chapter, viewed here as an undiagnosed disability in the play ‘night Mother, readings of which are, as highlighted powerfully by the author, concerningly identifying suicide as a positive act of autonomy, negating the debilitating impact of mental illness that goes largely unacknowledged. The penultimate chapter in Part One considers the historical and political concept of freak shows as Thomas Fahy examines their portrayal in the play The Member of the Wedding. The first part ends with Johanna Shapiro’s account of medical students responding to a viewing of The Elephant Man, which smoothly bridges the transition to the second part of the anthology, exploring more practice-based examples of disability within contemporary theatre.
It is clear that the breadth of disabilities explored is wide although not exhaustive, with little on visual impairment and theatre being included in the first Part. There is a clear sense throughout the essays that the authors are challenging the aesthetics of ‘disability theater’, a term used often by the editors of the anthology. Theatre and art can create alternate realities, engaging the imagination and thinking beyond the known, but it can also narrate real life, providing commentary on the politics, culture and realities of life. In this compilation, disability theatre is being analysed to ensure the work being produced is virtuosic, challenging, inclusive and representative. In addition, many authors are challenging popular readings of disability theatre works, importantly highlighting the role of the spectator and critic in developing a theatrical work’s meaning and impact. Another significant feature that emerges from Part One of Peering Behind the Curtain is the development of work over time and the critical analyses of historical work that are now shaping how disability art and theatre work is being created, viewed and critiqued.
Part Two of Peering Behind the Curtain is an eclectic mix of contributions, beginning with Lilah F. Morris profiling Thierry, Chris and Robin; three physically disabled American performers, detailing their training in acting, the specifics of their disabilities and their experiences as disabled actors performing in America. The second contribution in Part Two is a brief but thought-provoking account by Nancy Bezant of her experience as a visually impaired actor. Negotiating space, sound and colleagues, dealing with pressured expectations of her performance and examining barriers to success for visually impaired performers are some of the features that Bezant sensitively discusses, from her personal perspective. The penultimate chapter of Part Two is an interview with James MacDonald, the writer of the play that concludes this book. In the play Balance is Stillness, MacDonald explores relationships and the complexity of interactions within physiotherapy environments.
If I was to reflect upon possible downfalls of Peering Behind the Curtain, this is likely to highlight the lack of geographical spread amongst the contributions. The book is deeply rooted in western culture, with the United States and the United Kingdom being the focus. It would be great to see more unearthing of what is happening in disability theatre elsewhere, not only to inform and diversify but also perhaps to try and encourage, aiming to develop practice where there currently is little. In addition, I would have liked more interrogation of the term ‘disability theater’, which is commonly used throughout this book, not only for the editors but also for the contributing authors. What does the term encompass? What could it mean? How does it impact those who reject their work being labelled as ‘disabled’? To conclude, Peering Behind the Curtain, is a powerful compilation of writings, examining, challenging and celebrating the breadth of disability theatre that has been produced in the late twentieth and early twenty-first century. I would recommend this book to artists, researchers and spectators alike, as an opportunity to challenge our understanding, experience and acceptance of disability theatre work.
Centre for Dance Research (C-DaRE),
Coventry University, Coventry, UK
[email protected]