‘There should be no room to question inclusivity in Maltese theatre’

The cast of The Naughty Carriage on the Orphan Train included a large percentage of neurodiversity. It was performed in the UK and was composed and co-written by Luke Saydon, who was also musical director. Photo: Instagram/Simon Hadley.

Why aren’t there more disabled and neurodivergent actors on our main stages? And how can we make the shift towards an inclusive theatre scene? I spoke with actors, practitioners, and stakeholders in Malta and abroad to try and figure out some answers.

The first time Angela Bettoni experienced a mixed-ability performance, she felt her life shift. The year was 2019, and she was in London on an Erasmus+ mobility exchange programme with Chickenshed Theatre, which champions inclusivity in the performing arts.

“I was 18 years old and had never seen actors with disabilities on stage in Malta. Upon returning home I started doing everything I could to change that. At the time, I couldn’t find any opportunities apart from those created by Opening Doors,” she starts off.

The latter offers training in theatre, dance and music to adults with learning disabilities. But six years on, Angela’s work has gone well beyond the opportunities provided by the organisation. Today, she is as well-known for being a writer, actor and dancer as she is for being a very vocal activist.

She advocates for more mixed-ability performances, which include those with and without disabilities performing together on stage on a professional basis. She also happens to be the first Mcast BA graduate with Down Syndrome. The topic of her dissertation? ‘Representation for people with learning disabilities in the performing arts in Malta’.

A blueprint for inclusivity

The dissertation offers a comprehensive blueprint that any government can simply transpose into a national inclusivity strategy. Yet, independent artists who have a disability still struggle to find work opportunities locally.

“If you’re part of an organisation like Opening Doors it’s easier to find an opportunity to perform. Such organisations are inherently inclusive, and put up their own events while constantly looking out for funding sources.”

And if you’re a solo artist looking for work in mainstream theatre? The opportunities just aren’t there yet.

“When it comes to international theatre stages, open calls nowadays often take artists with a disability into consideration. Whether it’s a theatre or a dance production, the criteria are inclusive. In Malta we’re not quite there yet,” she states.

And it needs to start at the grass roots. Angela believes that for inclusivity to become real, artists need to be encouraged to create inclusive works. She is very grateful to Arts Council Malta for creating opportunities and exchanges, but stresses that a change has to happen within the theatre community itself.

“This is what is happening globally. But locally, someone writing a theatre script is not likely to be thinking about people with different abilities.”

How other countries approach inclusive theatre – is Malta’s situation really that different?

Angela believes it is, and she is not wrong. The global theatre landscape is indeed undergoing a subtle shift in this direction. And, while full inclusivity remains a goal to be attained, many countries are already seeing an increase in mixed-ability performances.

Programmes like Europe Beyond Access – which brings together 10 EU cultural organisations – contribute towards this and support artists by commissioning new work and facilitating disability-led performing arts.

But the shift goes beyond high-level organisational support, as solo artists have started incorporating inclusivity within their works from inception. In the UK it started as early as 2002, with Katie O’Reilly’s Peeling, where the three main characters were played by disabled actors. 

Today, the UK has successfully normalised disability in the arts. Actor/comedian Rosie Jones was diagnosed with cerebral palsy, and she incorporates this in her comedic style. Theatre-maker Jess Thom was diagnosed with Tourette’s in her early 20s – her acting accolades include Samuel Beckett’s monologue, Not I, which saw her incorporate her motor tics.

Elsewhere, an approach that authentically integrates disabled experiences into performances is also gaining ground. US writer Ramy Youssef, while not disabled himself, has written several roles for disabled artists, insisting that Hollywood cast disabled actors in them. RJ Mitte, who is best known for his role in Breaking Bad, was diagnosed with cerebral palsy at the age of three. Today he is an advocate for authentic casting of disabled actors.

The list of such artists goes on, but in Malta the momentum is yet to gather. Angela brings the conversation back to artists and producers.

“So far, the focus in Malta remains on the product, not on the artists. The product is not created around the artists. And disabled artists have limited opportunities to co-create. If I want to perform in a production, I have to create my own,” she concludes.

‘Malta needs to make a better effort’

Angela’s words are echoed by Ann-Marie Buckle, a neurodivergent theatre performer with autism and ADHD (often referred to as AuDHD). Ann-Marie was the winner of the Young Creative Practitioner Award during the Premju Għall-Arti 2023, which would suggest that great strides are being made in terms of inclusivity. But Ann-Marie feels that this is not quite the case, with the same roster of performers favoured for productions, particularly in the case of musical theatre.

“I am luckier than most, as my father has been kind enough to offer me roles in his productions. My heart belongs to musical theatre, and he tends to produce straight plays. But … it’s better than nothing.”

For context, Ann-Marie’s father is renowned theatre producer and director Adrian Buckle, also a vocal activist for inclusivity. In Malta, Ann-Marie has been cast on a number of his productions – Spring Awakening and Peer Gynt being two major ones. But she strives to find other opportunities that don’t rely on this connection.

One such feather in Ann-Marie’s cap was performing the iconic I Dreamed A Dream, from Les Miserables, on Italian TV in Naples and Rome. It’s no coincidence that this took place away from Malta.

“I’m not saying that there hasn’t been any progress,” she says. Like Angela, she refers to the opportunities provided by Opening Doors. “But musical theatre is lagging behind. No matter how talented a disabled or neurodivergent performer may be, the mainstream in Malta is failing to adapt, or to offer support,” she states.

As for Ann-Marie’s dreams of performing in musical theatre abroad, people have not been shy to let her know what they think.

“I keep getting told that I will never make it. I do wish there was more inclusion, but I’m not about to give up because of their words. Whenever I’m training, or performing, I like to think of how far I have come. And I know that in other countries like the UK the approach is different, so that’s my target. Malta really needs to make a much better effort at inclusion and understanding.”

Why do we need to talk about mixed-ability theatre at all?

Well, for starters, the right of disabled persons to have equal opportunity for developing their artistic identities is protected by law – by Article 30 of the UN Convention on the Rights of Persons with Disabilities, to be exact.

Rhoda Garland, who is the Commissioner for the Rights of Persons with Disability in Malta, explains it in more relatable terms.  

“Disabled persons need to be able to tell their own stories – without non-disabled artists usurping their voice. Only then can disability representation in the arts, media and the public sphere truly reflect the reality of disabled persons,” she explains.

When this reality becomes more authentic in the shared public sphere, this will in turn affect the way disabled persons are treated by their peers, colleagues, by decision-makers and society in general. 

“Full inclusion in cultural activities is crucial for societal inclusion,” Rhoda says bluntly.

She adds that, locally, while there have been attempts to create works by disabled artists, these tend to be one-offs, almost artistic experiments. 

The most consistent of these, she confirms, is Opening Doors, which has recently moved into mixed ability performances. ŻiguŻajg Children’s Festival also includes an awareness of sensory issues during some of their events.

“These, however, are still treated somewhat as fringe performances. What is required is a more strategic mainstreaming of the disabled artist and disabled audiences on every level.”

There is a silver lining in this complex cloud. The Commission for the Rights of Persons with Disability (CRPD) and Arts Council Malta have created an action plan with shared targets designed to strengthen inclusion, leading to further opportunities for disabled artists to access mainstream audiences. 

“All this should then have a ripple effect, allowing persons with disability to share their stories directly, constructing their own narrative and creating their own representation in society,” Rhoda concludes.

Here’s what inclusive theatre looks like in real life 

Some may suggest that this is all very well and good, but difficult to achieve in real life. Experience, however, proves otherwise. Luke Saydon is a Maltese theatre-maker based in the UK. He is not a disabled artist, but he has worked extensively with UK theatre companies – and now, also in Malta – to ensure inclusivity in the productions he’s involved in.

“I’ve been working in theatre in the UK for about nine years. My initial opportunity was an internship at Chickenshed Theatre, where they proudly champion disability and access within the arts. And I found my voice in that world of inclusivity.”

The most beautiful thing about this world, he says, is the lack of barriers. 

“To use a simple example, if you put four steps to access a room without a ramp or lift, someone who can’t make their way easily through steps, then there’s a portion of potential people who could access this space that won’t be able to. With theatre, it’s the same.”

There are two ways of experiencing theatre – one is by making it, the other by being part of the audience. And inclusivity, Luke insists, is essential to both.

“If access is not inherent in the process of what you are creating, then you are leaving an important cohort of audiences, theatre makers, artists and creators out.

If there’s even one aspect of the work that can’t be created or performed by a person with disabilities, then the work is not inclusive. This way of thinking has informed a lot of my work,” he continues.

He describes the process of creating a production in Malta as being “removed from that hub of creation”, leading him to miss the things that one wouldn’t dare to ignore in the UK.

“You wouldn’t dare to hold a performance that’s not accessible for any mobility requirements, or that’s not signed. And I have tried to replicate this model in my theatre. 

“Recently I worked on the musical The Naughty Carriage on the Orphan Train, with a cast of 40 young people, and we had a huge percentage of neurodiversity within the cast. The process of creating the material, of putting the piece on its feet, started precisely with this thinking. How can we make sure that any needs we have in this space are catered for?”

At the heart of this model, he says, is the question: what is the most accessible way to make a piece of theatre? And this approach is also evident in his local productions. 

It-Teatru tal-Miskin – which he wrote and produced – landed him the award for Best Theatre Production at the Premju Għall-Arti 2023. It was also probably the first Maltese production to include a touch tour, which renders venues and performances more accessible to people who are blind or have low vision.

“I remember people thinking of a touch-tour as a novelty when we had first done it. Which had me question if it’s ever been done before locally? It surely wasn’t common practice if it had been done. And it still isn’t.”

The touch tour created a lot of uncertainty even from artists within the company itself. 

“A touch tour offers people from the blind and visually-impaired community to come in before the show and meet the actors. They become familiar with the cast, they understand which voices are coming from which characters… It’s an opportunity to get to know the props, the space, the set pieces, and to be told what patterns, what light and effects we are using,” Luke explains.

Most of us would usually rely on our eyesight to grasp these elements. Once we take away that sense, it’s up to the theatre-maker to ensure that the experience is enjoyable by anybody who might not get visual clues from a show. 

“It was so exciting to work on, and to organise, that. Once you open that drawer, there’s a beautiful world of access. And the moment you try to move away from it you are literally doing a disservice to a big portion of audiences and actors. 

“One of my biggest regrets is that so far I haven’t managed to use Maltese sign language in any of my shows. But I’m working to remedy that in future productions,” he concludes with a smile.

He’s not the only one making such strides. In 2018, Vikesh Godhwani and Marta Vassallo wrote and directed GawGaw, Panto in the Dark, created specifically with the aim of making the experience accessible to audiences who are blind or have low vision.

The show was held in the dark and made use of binaural technology which records sound using an especially-built microphone that creates a 3-D stereo sound sensation for the listener to actually feel like they are in the centre of the action with the performers. The concept eventually led to another two such pantos, as well as a musical.

And last year, the Maltese play Snowglobe offered tailored shows for neurodivergent children as part of ŻiguŻajg festival. The cast included two actors with Down Syndrome.

What about a support structure to facilitate inclusivity?

Theatre projects based on inclusivity remain very much an exception. Yet, the support structure to make them happen has already been created by Arts Council Malta (ACM). 

Besides working alongside the CRPD to further inclusivity in arts on a general basis, ACM has created an entire infrastructure in place that’s specifically designed to strengthen cultural inclusion. 

The right to culture – which includes the ability for everyone to access cultural activities like theatre, both as part of an audience, and as an artist – is one of the priorities outlined in Strategy 2025, which is the country’s national cultural strategy. 

The implementation of this strategy is being carried out both with respect to high-level, cross sectoral collaborations – such as that with the CRPD – but also at the grass-roots, by making it easier for theatre-makers to work on fully accessible productions.

Funding that prioritises inclusivity

Of course, strategy alone is not enough to cover the financial challenges that come with putting up inclusive productions. Funding may not be the magic solution to everything – but it’s certainly a helpful start. I reached out to an ACM spokesperson, who walked me through the specifics.

“Every year, we offer a series of funding opportunities that theatre-makers can access to help them bridge that inclusivity gap. This year alone we have two arts support schemes, one of which specifically targets initiatives with a focus on the right to culture. 

“We also have various cultural partnerships in place with organisations like Opening Doors. And all our funding opportunities prioritise productions that further inclusion in the widest way possible.”

Examples of such funds include the afore-mentioned Arts Support Schemes (offering up to €30,000 per project); the Culture & Health Platform Fund (up to €9,000 per project under Strand 2); and the President’s Fund for Creativity (up to €15,000). Most notably, the Access Support Programme awards up to €5,000 to projects that invest in accessibility plans.

And if the thought of creating a fully-inclusive, mixed-ability production sounds complicated, well – there’s an app for that, too. Maybe not quite an app, but a comprehensive resource pack that’s designed to serve as both manual and toolkit for theatre-makers and other artists. This is available for free on the ACM website, both in Maltese and in English.

“This resource pack is a complete guide, with a number of examples of good practice in our own communities, as well as external good practice that can be adapted to a local context. The idea is to help address existing structural inequalities, including disability.”

In other words, theatre-makers can make use of an entire support infrastructure. But what does the process of creating an inclusive production entail in practice?

The expert’s take – inclusivity cannot be an afterthought

As highlighted by the artists I spoke with, in Malta most projects that prioritise inclusive practice are produced by – or in collaboration with – Opening Doors Association. I checked in with artistic director Rachel Calleja, to learn more about creating a production that is 100% inclusive.

“Inclusivity asks that the process is designed from the start to support diverse access and expression, not as an afterthought. This approach remains rare in Malta’s arts sector,” Rachel confirms. 

She acknowledges that recent years have seen an increase in awareness, with more opportunities for paid performance opportunities.

“This reflects a recognition of the value and necessity of representing artists with diverse lived experiences. There are also more funding opportunities, both locally and internationally, aimed at supporting artists with disabilities in developing their practice. 

“However, accessing these opportunities often requires dedicated support — to navigate application processes, build networks, or simply receive the information in an accessible way,” she continues.

While awareness, integration, and funding avenues have improved, these alone are not enough and artists often still need a connector — such as Opening Doors or an access support worker — to link them with opportunities. 

“Without this connector there’s a gap that limits true autonomy. There is still significant room for growth in Malta. Access is not just about making opportunities available; it’s about ensuring they genuinely reach the people they’re intended for. 

“This means being intentional about how opportunities are communicated and offering the additional support needed to make full participation possible,” Rachel states.

She points out that, in the local arts scene, much depends on networking, being visible in the right spaces, and having the autonomy to navigate them. This can be downright impossible for adults with intellectual disabilities. 

“Unless a family member is already active in the arts, or has experience in applying for funding, the artist with disability will face barriers long before they even begin working on a project.”

How can such obstacles be removed? Rachel believes that one solution could be the development of an artistic support agency or network that would bridge the gap between artists and opportunities. 

“This service would play a crucial role in providing consultancy in projects to ensure that inclusive practice and anti-ableism are being woven into the artistic practice from the very beginning,” she elaborates.

However, the need for on-the-ground support once a project start is also imperative.

“This could take the form of a creative support worker or an artist aide, offering help with communication, adapting timelines or tasks as needed, and advocating for the artist’s access requirements throughout the process. The role is similar to that of a job coach, tailored to the artistic context,” Rachel explains.

The missing link – a way of thinking

Given that support, information, and real-life case studies exist, how do we close this inclusivity gap? Is it as simple as following the Opening Doors model? Luke puts it more eloquently.

“Some people call it a model, I call it a way of thinking that many companies in the UK embrace, championing neurodivergence, disability and any sort of access to theatre,” he tells me.

“This way of work means that there isn’t even room to question inclusivity as, in essence, the making of the work has to be accessible, with no question at all.”

And there we have it – no room to question inclusivity. Once this mind-shift happens, and inclusivity is part of our thinking, mixed-ability performances can more easily become the norm. And then, we can truly start talking about inclusivity in theatre.