Why representation of people with intellectual disability on stage and screen is so important

Blue Teapot Theatre Company has launched a search for aspiring actors with an intellectual disability to audition for a permanent place, Esther McCarthy finds out more

The World Premiere of Blue Teapot Theatre Company and Abbey Theatre Co’s production of Into The Dark Woods by Charlene Kelly (pictured here with Sonja Brodie). Picture: Andrew Downes, xposure

When Kieran Coppinger and Charlene Kelly took their first drama classes, it opened up a world of creative expression that was to transform their lives.

Having dreamed of being actors since they were small, both of them embraced the possibility of taking to the stage through a theatre company that aims to radically transform storytelling.

A hit movie and many plays and projects later, they’re excited at the prospect of welcoming the next generation of actors with intellectual disabilities to the place where they both found their tribe.

Galway-based outfit Blue Teapot Theatre Company is currently auditioning actors as it expands in an industry where the importance of diversity and inclusiveness are taking centre stage.

Now the company has launched a search for actors aged 18 and over to join its full-time theatre ensemble.

“All I know is I want to see a lot more people like ourselves. I want people to have the right to be what they want, because that’s just what they need,” says Coppinger.

“They need to be accepted, to stand up and get out there. We need them to believe in themselves. And it would be great for us to have more people involved in the company. We love what we do. We’re actors. We love acting.”

Kieran Coppinger Picture: Andrew Downes 

Kelly, an actor who also wrote her own play Into the Dark Woods in a production with Blue Teapot and The Abbey Theatre, agrees. She too would like to see more representation of people with intellectual disability on stage and screen. Newer members are already supported by Blue Teapot’s experienced actors when they come through the company’s performing arts school.

“We’ve been talking about friending some new members for the company and giving them a chance to do what we do, get the experience,” says Kelly.

The award-winning group is currently expanding its talent pool by inviting aspiring actors who have an intellectual disability to apply for a permanent place within its current company.

The initiative is as part of an overall expansion, in keeping with Blue Teapot’s Strategic Arts Plan from now to 2027. A recent nationwide search has been completed with auditions currently taking place.

Blue Teapot has long been a trailblazer on the Irish theatre scene. For almost thirty years, the Galway-based outfit has supported people with intellectual disabilities nationwide in their aim to radically transform theatre practices. By telling stories through the lens of disability, they hope to pave the way for inclusive practices to become the norm.

Into the Dark Woods Kieran Coppinger and Jenny Cox. Picture: Andrew Downes 

Projects have included Sanctuary, the award-winning play that went on to become a movie that reached audiences worldwide, Dancing at Lughnasa and Kelly’s Into the Dark Woods, in a co-production with The Abbey last year. The latter was nominated for two Irish Times Theatre Awards.

“Blue Teapot began in 96, and it commenced as a small community project to give adults with intellectual disabilities a creative outlet and a way to explore their own lives and issues and hopes and dreams,” explains the company’s Artistic Director, Petal Pilley.

“From that beginning, it’s now grown into a professional theatre ensemble of actors working. The unifying element in Blue Teapot is the absolute passion to perform.”

The company has a number of programmes as it aims to support creativity for people with intellectual disabilities across all walks of life. As well as the theatre company of which Kelly and Coppinger are members, there is a three-year performing arts programme. There is also a community theatre programme with two strands: Bright Soul (18 years plus) and Sparkle, for 13-17 year olds who are interested in learning more about performance.

Paul Connolly, Midie Corcoran and Kieran Coppinger starring in Into the Dark Woods. Picture: Anita Murphy 

It was through projects such as this that actors including Kelly and Coppinger were first able to hone their skills, and after taking on her acting goals, Kelly recently has turned to writing. Being creative and telling stories is central to who she is, she says.

“It was my dream to be an actor since I was a child. It was an inspiration to do the writing and the acting and I’ve been very busy in my life with it. I’d like to keep it up and make other productions down the line. Watch out Hollywood!” she laughs.

Her stage and screen co-star has also found the passion of performance as a means to being creative and expressing himself. “Since 2004 I’ve been acting and enjoying it, says Coppinger, adding that taking part is his first play was a revelation.

“I felt great after it and I’ve been doing more plays, I even worked with Macnas at one time.

“We come in here three days a week and we do so much here. We’re always working together as a team, it’s what we do — people see what people with disabilities can do.”

After starring in an award-winning stage production of Sanctuary, Kelly, Coppinger and their co-stars brought the story to the big screen, to the delight of moviegoers at home and abroad.

The 2017 comedy-drama became one of the first feature films in the world to feature a cast almost entirely made up of people with intellectual disabilities.

Charlene Kelly, playwright and actor. Picture: Hillary Kavanagh 

Sanctuary tells the story of Larry, who has Down Syndrome, and Sophie who has epilepsy and an intellectual disability, and their attempts to be together.

They’re mad about each other but face resistance from well-meaning loved ones who try to keep them from becoming romantically involved as they fear there will be consequences the couple will struggle to manage. The ground-breaking film was directed by Len Collin and written by Christian O’Reilly, who already looked at the rights of physically disabled people in Inside I’m Dancing, Damien O’Donnell’s hit Irish movie starring James McEvoy. Prior to the film being made, the play had already won numerous awards and had a strong run at theatres across Ireland.

“It built an audience and went worldwide,” says Coppinger. “Myself and Len went to Manhattan in New York, and we went to Boston. We got a great welcome from everyone. We were interviewed by many different types of people — people would recognise you from it. We loved it.” Sanctuary was released in Irish cinemas and secured an Irish and international festival run, signalling a public appetite for more diversity in storytelling.

Representation has become even more a part of the creative consersation since then. It’s a welcome development, but there is room for more change, according to Pilley.

“We have made some change. I think that with arts and disability, intellectual disability is probably the least represented on stage and screen. What I would say particularly about Ireland is that there is a genuine ethos and ethic to support that diversity. We’re always met very well.

“I think there’s always a lot more to be done in terms of our actors, as artists, having their own agency and being able to progress their own careers.

“Something that would make my heart sing at this stage would be to see a lot more direct connect between mainstream companies or entities and our actors. Something that we really look to do is to get the visibility beyond Galway, beyond some of the platforms that know us and to get the message further out there.”