Update: The Abbey released a statement this evening in response to this post and other queries regarding access to the Peacock and the forthcoming productions.
A play opens next week in Dublin – a piece of documentary theatre on the Ryan Report on abuse in institutions.
Written by Mary Raftery, No Escape is the first of a new season of plays commissioned by the Abbey which looks at abuse in state funded institutions for children in Ireland. The series is called the Darkest Corner and will include a reading of 1961 play The Evidence I Shall Give, and a production of James X written by Mannix Flynn.
For people with disabilities the Ryan Report was very significant in documenting some of the abuses faced by children with disabilities in schools and residential services. Chapter 13 of volume 3 of the Ryan report examined reports of abuse in locations for children with intellectual, physical and sensory disabilities. Adults living in residential services in Ireland today still don’t have independent statutory inspection or monitoring of the services that they receive that are paid for by the state (FYI approx €1.6bn per year is spent on all types of disability services in Ireland)
The nature of my day job means that I rarely speak or comment due to confidentiality on these and other related issues but I was so happy to see that the Abbey were looking at this area of Irish life and that someone with the pedigree of Mary Raftery was involved in taking the report and writing it for performance. I’m sure that it will not be something that can be watched with ease or comfort but the story is important to be told.
Ironically I won’t be able to go and see it and neither will many people with disabilities as the productions in this series, the Darkest Hour, are being staged in one of the most inaccessible theatres in Dublin. I have been to the Peacock once when I was a lot more able for the stairs and I vowed never to return. Now I’m not able to and neither are many other people with disabilities.
I wish that state funding of arts spaces could be equality and access audited. I know that these are indeed hard times for the arts world but I think that spaces that cannot be accessed by everyone should simply not be used in the staging of performances.
Maybe the management of the Abbey could see that at least one performance in this series could be staged in an accessible venue (and I mean a place that has more than 2 places for wheelchairs so no not the Abbey either) in the next few months. The history of abuse of people with disabilities and other children who were forgotten by the state is something that disabled people have the right to witness and own too.
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In fairness to the Abbey, they have done some great work in recent years around accessibility for people with sensory disabilities, including subtitling, sign language interpretation and audio-describing of performances. I know that doesn’t help you, mind you. I’m not sure how much they can do with their existing building.
In theory, the requirement for state funding of arts to be accessibility-proofed may already be in place. S.27 of the Disability Act obliges public bodies to ensure that goods and services provided to them are accessible. If the Arts Council funds the Abbey, then perhaps these performances are considered to be ‘services provided to the Arts Council’ under the Act. You could test this out with a formal complaint under the Act to the Arts Council, followed by referral to the Ombudsman. The Ombudsman has bemoaned the lack of complaints coming through under the Act in the past, so here’s your chance.
You could also make a formal request to the Abbey for accessible performance(s) as a reasonable accomodation under the Equal Status Acts, and see how they respond.
I’m not convinced at all that enough attention is paid to accessibility in new build projects. Many architects seem to think that Part M compliance is the ultimate aim, but it is really just the bare minimum. Public projects should be aiming for much higher standards, and should be consulting with people with disabilities and carrying out access audits during the design phases.
Hi SC, long time no hear. I’m aware of all that the Abbey has done in terms of access for many areas of performance. It’s the Peacock that I’m fairly wound up about.
I’ll enquire about what constitutes a public body re S. 27 and I wholeheartedly agree with you regarding the interpretations of Part M and what constitutes accessible in the design of new public and private spaces in Ireland.
Again, while no expert on disability issues, I’m appalled that the Republic that spend money on non-functional polling booths and can find billions to bail out the elite cannot/ will not enforce the rights of minorities. The love-fest with policy and report-making must not be seen as an ‘end’ in itself, yet more often than not the commissioning of reports as a response to a problem (e.g. esp. Harney) is seen as a form of doing politics. If there’s a policy, we don’t really have to look at a problem, hmm.
Thanks for writing this. Along with my old pal Paddy Doyle I’ve been banging on about accessibility in publicly funded and especially arts-related buildings since time out of mind. Letters to officialdom have been politely deflected. Administrators have been embarrassed for decades. SC’s point about the ombudsman is a good one, but don’t look to the Arts Council – its own building is inaccessible. So is the Architectural Records building, The Gate, The Writers’ Centre and The Writers’ Museum, as well as Poetry Ireland’s reading venue, the Unitarian Church. I’m not sure about PI’s office as I haven’t been there.
As far as I know, they don’t have to comply with the legislation because they are not new buildings. You’ll notice that most of them are beautiful Georgian edifices. Beautiful but useless for purpose as public buildings.
It’s a mess, and Dublin’s bid for the City of Literature designation is a farce because of it. Maybe UNESCO will shame the powers that be into doing the right thing.
so here we are all again, on the outside of the inside looking on, looking out, just looking – gobsmacked at the level of no access, no backstage pass, no front stage pass and all the excuses – there is no excuse. It would appear the biggest disability is the blindness by those who have the ability who are charged with fixing things making things better fulfilling obligations.
We’re institutionalised when we should be outraged.
We’re not poweless so lets not turn the other cheek and make more excuses. The Abbey Theatre, Peacock Stage is not fit for purpose. There should be a warning sign to the public in relation to these buildings that they do not have universal access, that will enable us to have informed consent as to whether we would want to present our work there.
Personally i don’t feel great at all with the turn of events at the Peacock in relation to the accessibility for individuals with accessibility needs. It is important to note that the Abbey Talks are upstairs in the Abbey and are inaccessible to people with disability also so the Abbey Peacock are both unfit for purpose in this instance.
No point in listening to the same old nonsense from the nonsense machine, its as bland as ‘the cheque is in the post’ you gotta fight for your rights and you gotta fight against indifference and othering. The cultural so-called community, who slurp up almost 500 million a year in funding haven’t any shining example of universal access.
Perhaps now is the time to turn this issue into a positive campaign as Dublin City Council debates the Cities Draft Dev. Plan for the next few years. I certainly intend to make it paramount and one of my primary purposes during my stay at DCC.
There is indeed now time for at least one cultural space that addresses all the issue around accessibility for disability.
We need to end ‘othering’ and segregation, because thats really what it is. If silence is violence what do you call whats unfolding at the Abbey at the moment, and what do you call my part in this diabolical situation?
Had I of known there was no access for all i wouldn’t be in the place so a part of me is lost and is out there wandering around out-of-body, out-of-spirit, estranged.
I intend to address this issue and my reattachment of body and mind soul and spirit by providing a performance complimentary to all in a venue with universal access by Sunday 2nd May. I will announce the time and the place when me and the venue find each other. My sincere apolagies to all those who are offended by me in relation to this matter. Allow me make amends.
That’s a disgrace…. :/
The subject matter, institutional abuse. The venue, the Peacock Theatre in Dublin. The piece in question, Mary Rafferty’s, ‘No Escape.’ Having a play staged in a completely inaccessible theatre adds insult to our injury. We, the Survivors of those horrific crimes who happen to be wheelchairs users are not able to get into the Peacock Theatre.
Irish Theatre’s big ego blocked any room for sensitivity in this endeavour. There was great excitement when we heard about the series, ‘The Darkest Corner’ and we were delighted that someone with Mary Rafferty’s knowledge of the issue was chosen. The Abbey and the Peacock are funded by tax payers. I, like many other disabled people in this country pay my taxes. Still, in the year 2010, our disabled aesthetic is not cool enough; chic enough enter these exclusive two venues. In the current climate, one would imagine these artistic institutions can’t afford to be choosey about their customers.
Access on many levels to theatre in Ireland is still a huge issue for the majority of Disabled or Deaf people. Sign interpretation, audio description we are constantly told are “extras?. Extras need budgets and the excuses go on and on! If you use a wheelchair you get assigned a certain place in the auditorium. If there are more than two wheelchair users at one performance, you may get turned away, “Come back another night without your wheelie friends?. This is what we are told. The Peacock Theatre is not accessible. Holding homage to two venues that have a historical significance in Irish theatre life by excluding an important section of the community is ironic considering the subject matter. Still, this is Ireland. Why am I surprised?
I totally respect Mary Rafferty’s work as a journalist. Her programme, ‘States of Fear’, gave people like me a chance, after many years, to go and get help. Suddenly, we were believed. Some of us managed to get the strength to go to the redress board. All the time, building up to my hearing I used to tell myself, Ms Rafferty’s work came a little too late for some of my friends but it’s not too late for me.
Ms Rafferty’s work on the issue of abuse was crucial. We’ve never met but I like her. I have no bad feelings towards her. There is huge admiration and respect inside of me for what she has done for people like us. This woman believed our stories. She made sure that our voices were heard. We gave her our trust. Now I’m hoping Ms Rafferty will display integrity. If I met Ms Rafferty these are some of the topics that might surface in a gentle and warm conversation. I would ask her, is this project about voyeurism? Are the Survivor’s stories being staged in an inaccessible venue as part of a representation of us being the objects of bourgeois theatre goers? Is it now part of popular Irish culture to harness on stage a record of abuse while the production house brings with it its own practices of exclusion that are frequently excused and brushed off as being part of antiquity? The conversation might drift into the area of resources and historical factors and that nothing is ever intentional. I might sit there and nod and remember when they beat the shit out of me. I was told at the redress board that it was never intentional.
Then, on drawing the conversation to a close I might say to Ms Rafferty “You can stop the peacock from excluding disabled people from attending your play. Your play comes from our pain. Change the venue. You helped to break the silence regarding clerical and institutional abuse now help us break institutional discrimination.? Then the conversation might become less formal. I might shake her hand and use her first name and continue to talk. “Mary you were brave enough to empower us to challenge the church and state, now help us to stop the systematic, endemic discrimination that is still very much alive in many areas of Irish life.?
If this conversation ever happened I’ve no idea what Ms. Rafferty might say to me. Sure, I understand the politics of Irish theatre. The issue is bigger than her but it’s unfortunate that she allowed her work to be given over to The Peacock. Compromises are really difficult. Believe me I understand. Yet, there isn’t a hierarchy for where discrimination towards disabled people starts or ends. We’re all human. We get carried away in the whole drama of theatre. Mistakes are made. Blame is apportioned; people like me end up ranting and raving into what feels like a vortex and a vacuum of repetitive, boring rage.
The bigger question could be asked in the context of social and artistic solidarity. This is not just about Mary Rafferty’s piece, ‘No Escape’. It’s about the whole series, ‘The Darkest Corner’. Let us open up the conversation to other writers, actors, production staff and technical people. Don’t collude. Don’t be silent. Help us change the venue. Don’t let this series be spoiled or get hijacked by people like me. The series is very important and I commend the commissioners for developing this project. We know the Abbey will be moved and that hiding behind the argument for a National Theatre is exploitative of what’s happening at the moment. Also, there was some foolish talk of live streaming some of the productions for this series. Please, Mr. Abbey and Mr. Peacock don’t do this. This is not a solution. Most disabled people want to enjoy the experience of going to the theatre. The dynamic and energy between an audience and performer is second to none. Also, there is something quite powerful about having your money in your hand, paying for your ticket and saying to yourself, ‘I got in, I got in to see a show like everybody else.’
Every corner of the physical world should be accessible. Indeed ‘access for everyone, everywhere’ might be the key phrase. Willingness is required as a first step, but action must be immediate. The Abbey and the Peacock can be seen as a test bed of intent in the arts. As Sean R says if money can be donated to the already rich it can be found to realise this most fundamental human right.
I’ve been reading the comments and felt a variety of things.. first the Peacock wantd to do this series, no other theatre actively pursued this or came forward, and second.. when things were ‘good’ ie the Celtic TIger was roaring, disability access should have been a priority for the home of the national theatre and it wasnt.
I also know that the cast put up a helluva fight as they were offered the piece but asked to take a 33% wage cut- a stupid move by the Abbey when the cast contains a number of highly politicised individuals. One of whom talked with a disabled activist about what could be done about accessibility a week or so ago ( a few days ebfore this blog post) while it was still in rehearsal. As someone who has also worked with survivors of institutional abuse, staging this piece is incredibly important because the vast majority of the populace has not read the Ryan report only read distilled versions in the printed media, to put it on stage written by the woman who opened the Pandora’s Box of Ireland’s dirty, disgusting, secret is an extremely important event..
Getting the Abbey/ Peacock to take cognisance of the issues raised here is pushing on an open door under the current administration and those involved in staging this piece..anger at disability access is totally justified, but there is a potential ally here.. and I think they are willing to listen and learn.
Oh come on, this gets me so angry. With the millions that has been squandered on all kinds of rubbish how much would it really have costed to put in a lift and removable seating that can be taken in and out in order to accomodate wheelchairs?
For buildings without multiple levels its this:
1. Accessible and step free or ramped entrances.
2. Either open space or removable seating with sufficently wide entrances
3. And finally, properly accessible toilet facilities & other public areas
If you’ve a multiple level building then you need to add a lift.
My eyes were opened to this when I took my mum to Budapest last year. She is not wheelchair bound but has had several knee replacements and is not very mobile. The interesting thing was that it was older buildings such as the opera house that bent over backwards to accomodate us, while newer buildings such as the new Palace of Arts were an absolute flaming disgrace in how we were treated – which I’ve written about elsewhere. I will never darken the doors of that institution again, even if it does house the wonderful Budafest Festival Orchestra.
It can and has been done at other buildings so don’t see why it cannot be done there, and especially makes little sense to use venue for a play of particular interest to disabled folk in the circumstances when they themselves cannot see it.
Hi Susie? (maman poulet!)
there will be an extra performance of James X, with access for all in the Green Room, Holiday Inn Pearse St, Sun May 2nd 8pm (free) with talk beforehand
Hi Mannix,
thanks for the info and I’ll be along. Am waiting on word of No Escape and the alternative venue that is being organised for it. Will do a blog post re both as soon as it’s confirmed.
Suzy
Maman Poulet » Developments on The Peacock Theatre and ‘No Escape’ // Apr 14, 2010 at 17:21
[...] Tonight No Escape opens in The Peacock Theatre and there have been a number of developments since I wrote about the lack of access to The Peacock and the rights of people with disabilities to both access the [...]
As a member of the privileged cast involved in the production, I just want to say how glad I am that this management had the political will and moral backbone to commission this piece in the first place, no one else was doing it god knows. The fact that lack of access to our National Theatre, and for that matter to the offices of the Arts Council itself, disables citizens is completely untenable. Every single person involved in the production from management to cast and crew, agrees.
The current chief executive of the National Theatre was also the person responsible for the rebuild of Project Theatre in Temple Bar, and presided over its reconstruction, ensuring and prioritising Access.
That ‘The Darkest Corner’ season will provide the best opportunity we’ve had in years to address access to the Arts, at the highest level, is extremely appropriate;long overdue; and I know will be facilitated and supported by this management.
The last thing the management of the Abbey Theatre is, is ‘stupid’, and I entirely disassociate myself and my acting colleagues from the implication contained in Marie’s comment above. A case of ‘a little knowledge is a dangerous thing’. The implication that my casual conversation with Donal Toolin, for twas he, is what brought the issue to management’s attention is entirely without foundation. They were already conscious, they don’t need me as their jiminy cricket. Prior negotiations between the management and the cast had nothing whatsoever to do with ‘No Escape’, and are NOBODY ELSE’S BUSINESS.
I do hope as many people as possible will be able to attend Mannix performance and our own in the accessible venues, lets hope such things will soon be consigned to history. Lets all wish Paddy Doyle and Fiach MacConghail and Paddy Doyle every success in their joint approach to government.
The play “No Escape” based on the Ryan Report is currently running in the Abbey/Theatre. If you happen to have a disability or a friend that has one then you will not be able to see the play as there is no lift down to the bowels of the Abbey, our National Theatre, to the Peacock.
What is it about the Artistic community of which I am allegedly one of it’s members that they support a theatre that discriminates against people with disabilities.
It’s simply not good enough that a group of people in Irish society who are already marginalised should be further pushed to the very margins of a society that treats them as second class citizens.
What’s wrong with us as a nation that we tolerate discrimination against our own people. Bear in mind that disability is not the preserve of people who are already disabled.
This is discrimination against people who use wheelchairs. When a picket was mounted on the Abbey/Peacock on opening night the so called great and the good of Irish Society, Actors, journalists etc just walked on by. One can only hope none of these people ever end up in a wheelchair or have difficulty in walking. If they do, their days of being able to go the the theatre are finished.
Will we just sit back and let it happen or are you prepared to do something to end this particular form of abuse?
@Philip – Just two clarifications;
>SC’s point about the ombudsman is a good one, but don’t look to the Arts Council – its own building is inaccessible.
SC: Don’t want to be pedantic, but the fact that their own building is inaccessible has no impact on their legal obligation under S27 of the Disability Act to ensure that services provided to them are accessible for people with disabilities. The NCBI produced a good guide recently on how to make complaints – see http://www.ncbi.ie/living-with-sight-loss/exercising-your-rights/exercising-your-rights-to-make-public-bodies-accessible
>As far as I know, they don’t have to comply with the legislation because they are not new buildings.
SC: In general, building regulations (i.e. Part M) do not apply to existing buildings. However, for buildings operated by public bodies, their is an obligation in S25 of the Disability Act to ensure that public buildings comply with Part M by 2015. The general non-discrimination obligations from Equal Status Acts would also apply.
>You’ll notice that most of them are beautiful Georgian edifices. Beautiful but useless for purpose as public buildings.
SC: There is no general exclusion for Georgian or other listed buildings.