Making theatres accessible for people with physical and sensory impairments means more than complying with the Disability Discrimination Act, as Jenny Sealey, artistic director of Graeae discusses.

Graeae was established in 1980 to promote the inclusion of disabled people in professional performance.  It is now the leading company in its field and tours both nationally and internationally.  Although we have developed an enviable reputation for producing innovative work, touring a company of people with a range of physical and sensory impairments is not an easy matter.

My first contact with the company (my second acting job upon leaving Middlesex Polytechnic) was in 1988.  Lurching up and down the country doing one night gigs; it was a tour from hell.  The set was highly impractical being all white and extremely heavy, and only just fitted into the van.  The venues were small and ill equipped, but were for the most part accessible.  What made the tour palatable was the spirit of the people running the venues.  And this is as true today as it was back then.

The Disability Discrimination Act, and attention to real physical access, means that Graeae now has a more varied and diverse playing field.  More theatres have access both backstage and in the auditorium and foyer areas.  That said, I know one theatre which is spanking new with glorious detail to access but which is struggling to get disabled people to the venue.  The reason is simple: a huge attitudinal barrier radiates from the space that stops disabled people in their track.  Here is a theatre that has had to make changes because 'the law says so', but at the end of the day they are not interested in engaging with disabled audience, let alone programming companies like Graeae.

On the other hand, there are theatres like the New Wolsey in Ipswich, where opened our spring tour, a revival of Mike Kenny's Whiter Than Snow, in March.  The last time we were there they made new ramps and created short access solutions because they wanted us there.  This time they provided steps and a makeshift platform to enable my actors of short stature to access the facilities in the green room.  Sarah Holmes and Pete Rowe at the new Wolsey have worked with all their staff and volunteers so that access belongs to everyone and they want disabled people in their audience and disabled actors on their stage.  It is the most wonderful place to be and we can just get on with the job without having to quietly battle with negative undercurrents.

London's Soho theatre and Oval House, the Lyric Hammersmith, Birmingham Rep, The Drum in Plymouth and Northern Stage in Newcastle Upon Tyne, to name a few, all have the same genuine attitude and understanding and create an atmosphere based on respect, equality and inclusion.  They work with Graeae to make the space and environment and social aspect of going to the theatre a whole experience.  Attitude is everything and it is still one of the most prevalent barriers that stops many disabled artists and audiences engaging with the creative industry.

People choose to work in theatres because they are incredible places.  They provide environments where emotions are played out day in and day out, and this is not just the actor on stage.  Everyone is geared to bringing the world out there into the space within.  if access can be a core part of that world and be permeated with a creative context it becomes a shared experience, and not something that is an after thought.

I am aware I am very luck to be working for Graeae, because access underpins the whole company artistically, practically and functionally.  The latter two are sorted out as second nature as it is what we do, but it is the artistic marrying of diverse communication styles, sign language and audio descriptive narrative that keeps us all buzzing.  The whole Graeae team has an investment in this process, from the creation of the audio flier, newsletter, and BSL synopses, to the auditioning voice for the production.  We are in it together and we have a shared language that makes Graeae such as unique place to work.

The theatres Graeae work in invariably learn form our approaches, and artistic directors are starting to realise that it is necessary to cast audio describers or sign language interpreters and to spend time with both to enable them to fully realise the artistic vision of the play; or they may work with the designer to think about the best place for the caption box to be hung to ensure people can read the captions and still be able to see the action.  This attention to detail means that audiences have a total experience that is informed by the director with the whole organization on board.

Bus access in theatre has to be practical, functional and artistic and this in turn spills out onto the streets and word gets round that this is the place to go.  As I write this, after 11 years at the helm of Graeae (and with two failed Capital projects under my belt - one was rejected at feasibility stage and one we pulled out of as a result of unacceptable compromises being forced upon us) we are finally in the midst of our new £2.6 million capital building programme.

The conversation and fit out of the South Stables at 138 Kingsland Road will provide Graeae with a high profile office, rehearsal space and meeting areas, designed with and for all artists.  The venue will be a visible model of inclusive theatre practice strategically placed in the heart of one of London's five Olympic boroughs.

Built sometime between 1890 and 1919 on the site of a former almshouse, this Grade II listed building will, for the first time, bring together all of Graeae's operations under one roof, with numerous practical and creative benefits.  it will provide both a hub and a catalyst for arts and disability arts, helping develop a new generation of artists.

Project architects, Artillery Architecture & Interior Design have worked closely with Graeae's Associate Artists and all core all staff to agree essential criteria which is based on our desire for a welcoming and energy efficient venue, accessible to all, with excellent welfare facilities and a design which exceeds DDA requirements.

The building will have:

- a double height, top end rehearsal space located within easy reach of staff and visitors;
- opportunities to use the prominent street façade to promote Graeae's ethos and performances;
- a welcoming venue and a bright, spacious, working environment;
- a high quality, rehearsal space;
- a building without barriers or compromises on access;
- a lettable office and rehearsal space;
- environmentally friendly operating systems;
- a high acoustic specification for the rehearsal and meeting rooms;
- maximisation of natural daylight and the ability to black-out, or control glare;

flexible lighting systems allowing different options in each room / space; and

installation of controllable and adaptable heating and lighting systems - important factors in the health and well being of disabled and deaf staff and artists.

This is without doubt the biggest production we have ever done or are likely to do again!  The adrenalin rush at each site meeting is far greater than any show we have done.  We are making architectural and design choices that have to last for years.  It is terrifying but tremendously exciting too.  For ultimately we want this to be a place where the core values and ethos spill out in to Hackney and beyond, and a place where the next generation start seeding bedding their explosive entry into the world's stage.