The Jolly Roger has been raised, and it’s time to batten down the hatches and enjoy some Pantomime fun with The Adventures of Peter Pan. As part of Capital Theatre’s continued efforts to make theatre more accessible for audiences, there are several accessible performances for the show throughout the Christmas period to cater to all buccaneers.

If you’re still unsure about booking for the show, we spent some time with the incredible Izzy Sivewright, Capital’s Creative Engagement Coordinator, to have a chat regarding the accessible performances, training, and future plans that Capital Theatre and the entire Panto team offer to ensure everyone has access to live theatre.

For a full listing of what the theatre offers, with entry points and access to the venue, may be obtained from their website.

And please do have a look at our review of the performance to get a taste of what daring feats and fantastical showcased talents you have in store with The Pantomime Adventures of Peter Pan!

Accessible Performances:

Audio Descriptive – Saturday 9th at 14.00pm (Tour Tour at 13.00 pm), and Friday 15th December at 19.00pm (Touch Tour at 18.00pm. Audio Descriptors – Jo Barrow & Myra Galletly

BSL Sign Language Interpretation – Saturday 9th December at 14.00pm, and Friday 15th December at 19:00pm. Interpreters: Shaurna Dickson & Paul Belmonte

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Perhaps the best way to start for audiences who aren’t familiar with accessible performances; could you perhaps give an overview of what exactly this means, and the different forms of performances the team offer?

Accessible performances are designed with the access and support needs of audience members at the forefront. 

For some shows, this might mean providing additional resources to meet specific needs; for others, it might mean adapting the production itself, as well as the auditorium and public spaces for those visiting the theatre.

At Capital Theatres, we believe in actively making the arts accessible to all.  We work together with visiting companies to offer performances which are accessible to different needs within our communities, for example by providing captioned and BSL shows for D/deaf and hard of hearing audiences, and by offering audio description and touch tours.

We’re also super-proud of our relaxed performances, which are particularly well-suited to those with sensory and communication disorders, learning difficulties, autism and dementia – as well as audience members who simply prefer watching a show in a more relaxed environment. 

There are several changes you’ll find in place during a relaxed performance.  For example, we’ll make technical adaptions so that the show is more suitable for those with sensory disorders.  This might mean changing or reducing certain lighting effects – sudden transitions, strobe, roving lights.  Often, pyrotechnics, flares and bangs will be taken out altogether.  Sound levels are reduced throughout.  Sometimes, the content of a show might also be looked at, and the runtime reduced for those who might find sitting through longer productions a challenge.

And it’s not just technical changes – the overall environment, right from street to seat, is important to get right too.  From extra signage – perhaps including Makaton and dementia-friendly colours and fonts – to break-out spaces for those who prefer to enjoy the show in a quieter space, we want everyone to have a positive experience from the moment they come through our doors.  Inside the auditorium, audiences are welcome to come and go as often as they like, move around and make noise as they need , and we’ll raise the house lights throughout the show to make the auditorium a more welcoming environment. We want our audiences to be able to enjoy experiencing theatre in a way that’s right for them.

The accessibility of art has really been a core ethos for the Capital team, but it wouldn’t be true to say it isn’t always a quick fix or task. Capital has made sure that in doing these shows, and their extensive accessible programming, that training and support is offered. Would you mind explaining some of the details about the training?

It’s incredibly important that our staff feel well-informed so that we understand and can respond to the needs of our audiences.  For example, our customer-facing staff all undergo Dementia Awareness training, with many First Aid and Mental Health First Aid trained to be able to respond to different and potentially complex needs. 

Our Creative Engagement team have also undergone safeguarding, child protection and autism awareness training to be able to further develop events in a way that’s right for communities who have traditionally experienced many barriers to attending theatre environments.

The changes we make must be done so with direct input from those with lived experience. Relationship-building and consultation from an early stage is key to getting these events right. We’re particularly proud, for example, to have such strong relationships with our Dementia Friendly Focus Group and Edinburgh’s Additional Support Needs schools, whom we visit and hold important conversations with several weeks in advance of our annual adapted pantomime.

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There might be some audiences who are concerned that they may miss out on some of the magic or experience in attending an accessible performance. Is there anything you’d like to add to give them some clarity?

Adapting a show to make it accessible to a wider audience doesn’t mean taking away from it – anything but!  All of the magical elements remain – the story, the music, the dances, the characters we all know and love – but it’s about making necessary changes to certain elements so that audiences with complex needs can relax knowing that this is a safe space for them.  It’s also worth pointing out that the technical production crew are incredibly talented and always have a creative workaround up their sleeves so that everyone in the room can enjoy a high-quality show, with seamless transitions between the adaptations and the original production.  The cast is also phenomenal at embracing any changes and making sure everyone in the room has a fantastic time.

For me, one of the most striking and progressive elements offered is the ‘break out room’ which includes a live stream of the show to ensure audiences aren’t missing anything if they need to take some space. How difficult was this to implement?

Break-out spaces are essential for relaxed performances and we’re delighted to be able to offer them both for public and schools relaxed shows.  Our schools show takes particularly careful planning, with such high numbers in attendance, and varying complex needs amongst the learners.  It can be tricky to create spaces which work for everyone.  For example, some children might need a quiet space.  Others might need somewhere where they’re welcome to make noise and move around.  Some might enjoy activities, and some might find these distracting while watching a live stream of the show.  For this reason, we offer a mix of spaces which offer differing levels of activity.  For example, we’ll offer live streams in two locations – in our foyer bar, which also has colouring in and sensory toys available, but also in our enclosed function room, which is a more calming environment with comfy beanbags and cushions to cosy up in.  We’ll have another function room which will be kept as a quiet space only.  It’s about looking at the spaces available, assessing the different needs of the schools attending, and trying our best to offer choices which work for all.  Again, close consultation with the school staff on what they’d like to see available for their learners is key to getting this right.

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On the back of that – what do you think audiences, arts/funding bodies, and the wider circle of government can do to help theatres and producers promote these shows and open up the space more for audiences?

Everyone should be able to access theatre experiences in a way that’s right for them.  Organisations, venues and promoters need to work together to change pre-existing narratives and perceptions about who theatre is for and how performances and our buildings can be enjoyed.  At Capital Theatres, we believe in shaping our thinking as a listening organisation.  This means actively working with and listening to different groups and responding to their needs.  It means having honest conversations and acting upon them.  It’s also important that organisations share their knowledge and best practice with each other, so that we can all continue to learn and better contribute to our communities.

Any final words to those still unsure about grabbing some pixie dust or hopping about the Jolly Roger?

The pantomime is a wonderful, inclusive event for all!  There’s magic within the script, of course, but also in the air, seeing communities from all different walks of life being brought together for a theatre experience that celebrates silliness, optimism and having a brilliant time.  There’s absolutely something for everyone, and we hope to say a big HIYA PALS to you very soon!

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