Something remarkable has been happening in theatre in the UK, but barely registering a blip on the radar. Let’s call it Inclusive Theatre for Young Audiences (Inclusive TYA) for now – perhaps a better term will emerge later. The lack of proper recognition for this work should come as no surprise. Firstly, the work is for children and young people: a Cinderella sector that is often denigrated as the first rung on the career ladder or, conversely, a career cul de sac. Then, the work is about disability, so it’s easily dismissed as worthy: an instrument of social change lacking the “excellence” of the mainstream or the “innovation” of experimental work. But a closer look reveals that not only is Inclusive TYA exciting and innovatory, it’s also an area where the UK is leading the world
