For people with autism and their families
Adapted by Kelly Hunter
A co-production with Orange Tree Theatre
Up to fifteen children, young people and adults on the spectrum become the participants for each unique performance, sitting with seven actors in a circle on our stage. Each performance is adapted to the specific needs of the participants, however complex they may be. The families or carers sit just behind them to watch from the auditorium. They can join in the games if they wish. The actors invite the participants to help them unravel Shakespeare’s story through sensory games which everyone plays together.
Although the games and the narrative remain the same for each performance, the show is completely different each time depending on the ways the participants and actors share the dfferent games. After each performance everyone is invited for tea and biscuits with the cast. There is never a rush to leave. The foundation of this unique production is the Hunter Heartbeat Method created by Artistic Director Kelly Hunter.
Watch the full show here:
Where we have been
The production was created and performed at Orange Tree Theatre in 2017 and has since performed at:
Heart of America Shakespeare Festival, Kansas City US. January 2018
Bridge Theatre, London. March 2018
Teatre Lliure, Barcelona with a Catalan version with actors from La Kompanyia and children and staff at Escuela Especial Monserrat Montera. April 2018
Orange Tree Theatre, Richmond. November 2018
Festival Tanar de Sibiu at Teatrul Gong, Sibiu Romania. November 2018
Minerva Theatre, Chichester. January 2019
St John’s College, Brighton. May 2019
Bridge Theatre, London. June & July 2019
Westminster School PHAB WEEK June 2019
London Pride Family Garden June 2019
“Last Saturday I really didn’t know what to expect when I turned up for Flute Theatre’s performance of “A Midsummer Night’s Dream” with my extremely autistic 18 year old son, Tim.
As always, being in a public place with Tim was panic-inducing, despite the fact that this was an incredibly supportive environment. Even before the start, while the actors and artistic director were warmly introducing themselves, Tim managed to run away from me 3 times – to be retrieved from the auditorium, the ladies’ loos and the admin offices. The difference was that no one minded or batted an eyelid, and I was immediately offered help with finding him. That never happens!
At the start I experienced familiar feelings – hard to shift ever since Tim was tiny – of feeling intensely anxious about his behaviour and nervous of being judged as his parent. As Tim galloped around the stage, made loud inappropriate comments and flapped his arms, I fretted repeatedly about whether to take him out and whether he was spoiling it for everyone else.
What was breathtaking, was the way the actors immediately adapted what they were doing, to incorporate what Tim was experiencing and communicating with his behaviour into the performance. In other words, they entered into Tim’s world rather than demanding that he enter theirs. Whether he was jumping, talking in a loud Cockney accent, or rocking back and forth, 2 actors worked with him to incorporate what he was bringing into the show.
It worked! He relaxed, he felt accepted for himself, he began to visibly enjoy the sensory games and humourous use of Shakespeare’s text. What’s more, the same was happening, in different ways, with all the other participants and actors.
After a while I noticed that I had relaxed too, both physically and mentally, in a way that almost never happens when I’m with Tim. My arms and legs had uncrossed, I was leaning forward, mesmerised, and smiling. I could relax because Tim was with people who really “got” him and understood how to work with autism.
At one point, an actor tapped a repeated single chime on a bell, and in the ensuing silence each participant in turn closed their eyes and turned to follow the direction of the sound. This was a spellbinding, beautiful moment with everyone in the room intensely focussed on each child. The silence and calm was magical. It felt almost religious, as though a sacred space had been created, within which something transformative was happening.”
Rehearsing and Celebrating
2018 Teatre Lliure
A Midsummer Night’s Dream was originally produced as a Flute Theatre, Orange Tree Theatre and English Touring Theatre co-production.