Atypical Plays for Atypical Actors’ is a collection of five unique, but equally powerful, poetic and political pieces of drama composed by the award winning playwright, Kaite O’Reilly. Review by Dr Sonali Shah (University of Glasgow)
O’Reilly’s policy and practice as a writer is to ‘put crips in our scripts’ (Guardian Online 2012). So with this motto in mind, O’Reilly’s ‘Atypical Plays’ present opportunities for disabled artists to occupy the stage and challenge audiences’ assumptions about disability and difference. The writer works together with her actors in a non-hierarchical and innovative way, continuously and purposefully adapting to each unique movement, to create the five theatrical pieces in this collection: Peeling, The Almond and the Seahorse, In Water I’m Weightless, The Nine Fridas and Cosy.
Written in the 21st Century and from an insider lens, these five plays subvert traditional notions of normalcy and encourage the possibilities of human difference to explore the whirlwind of relationships, emotions, choices and identities that, both construct us and are constructed by us, as we all move through life and try to work out what it is to be human.
These texts portray disabled characters as sexy, active and wilful beings in empowering and provocative stories, cutting against the grain of the trope for most blockbusters of stage and screen, which revolve around medicalisation and normalisation using disabled characters as a metaphor for tragedy, loss or horror.
The first play, peeling, described by the Scotsman as ‘a feminist masterpiece’, is a fine example of meta-theatre that explores themes of war, eugenics, and fertility. Written specifically for a Deaf woman and two disabled women (each strong, witty actors and feisty activists), peeling is a postmodern take on the epic Trojan Women.
Although the three characters – Alfa, Beaty and Coral – are consigned to the chorus, O’Reilly makes them central to this play, revealing their real personalities and hidden truths through vocal cat-fights and heckling matches (interpreted via BSL and audio description) while they wait to play the two minute part they have been awarded in the name of ‘inclusion’.
The Almond and the Seahorse is the second script, and the most structured of them all. Written for a cast of five, it examines the impact of Traumatic Brain Injury (TBI) for the individual and their slowly fading loved ones. Focusing on two couples (where one partner in each has a diminishing memory) it demonstrates the slow debilitating power of memory loss on present relationships and dreams for the future.
Reading this script evokes a sense of how critical and delicate the human memory is. This is reflected in the words of Dr Falmer (the ambitious neuropsychologist character whose beloved father had TBI) – ‘we should not invest so in such perishable goods’ (p.127). The vibrant clarity of monologue, dialogue and stage directions on the page makes it easy to visualise this play on the stage. Highly affecting, the performed text will undoubtedly give much food for thought for the audiences.
The third play in this collection In Water I am Weightless – is an apt title for exploring the heavy burden disability seems to provoke in society as in water it remains hidden. Written for a cast of six Deaf and disabled actors, and entrenched in crip humour and energy of the Disability Movement, the performance script adopts a monologue and dialogue style to create a mosaic of stories of the realities of living in a disabling society and being seen as ‘vulnerable’ and ‘in need’ by the non-disabled. ‘I was having a drink and a fag with some friends outside the pub the other day and this woman put a coin in my tin of Special Brew…’ (p.148). Performed at Unlimited in London 2012, and inspired by a range of informal conversations with disabled and Deaf citizens, this work is really does put “us” in the slogan “Nothing About Us Without Us”.
The 9 Fridas use the artwork of the disabled Mexican painter, Frida Khalo, as a lens to deconstruct her biography including her changing social positioning in terms of her disabled and feminist identities. The last play, Cosy, is a dark comedy exploring inevitable ageing and death.
Together the five plays make essential reading, both for educational purposes and pleasure. Informed by the Social Model of Disability, they have the potential to enact a kind of activism and a change in public perceptions towards disabled people, previously shaped by negative representations in popular culture. Atypical Plays for Atypical Actors offers an entertaining and poetical insight into what is means to be human.
Atypical Plays for Atypical Actors is published by Oberon Books and available to buy here. Readers of Disability Arts Online can enjoy an exclusive 30% discount on the cover price using the code: ONATYPICALPLAYS