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And Graeae Theatre (UK) Theatre’S Impact “Disability on Stage”: The DisAbility Project (USA) and Graeae Theatre (UK) Theatre’s Impact on Disabled Actors: A Comparative Study Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Jonathan Wayne Kochensparger, M. Ed. Graduate Program in Theatre The Ohio State University 2019 Dissertation Committee Lesley Ferris, Advisor Beth Kattelman Joseph Brandesky Karen Mozingo Copyright by Jonathan Wayne Kochensparger 2019 ABSTRACT Few opportunities and many challenges exist in professional theatre for performers who have disabilities in the United States and in the United Kingdom. Joan Lipkin leads a community theatre group in St. Louis, Missouri in the United States that provides opportunities for disabled actors to perform live theatre encompassing original material that is focused on bringing disabilities to the forefront of each production. Likewise, Jenny Sealey leads a professional theatrical company in London, England called The Graeae Theatre. Graeae hires disabled artists as actors, writers and producers. Graeae is leading the way in changing perceptions of non-disabled people and showing the world that disabled artists have important work to perform. This dissertation examines the impact theatre has on the quality of lives of disabled actors and civil rights gains achieved for them by examining the history of disablity theatre in a comparison study of the DisAbility Project of the United States and Graeae Theatre of the United Kingdom. It covers work by disability scholars in a field that is in its beginning stages historically and shows how far this discussion has come since the passage of the ADA in the United States in 1990. My research delves into the perspectives of disabled actors in The DisAbility Project from St. Louis as well as representatives of The Graeae Theatre Company in London. These interviews include perspectives from Joan Lipkin and Jenny Sealey as each one circumnavigates the political climates of their respective countries as well as dealing with funding issues. I also draw from scholarly works from Petra Kuppers, Bree Hadley, and Carrie Sandahl to illuminate where the research began and where it is heading as we move into a time in history where communication is instantaneous and lack of awareness is inexcusable. The continual i evolution of media allows information to flow by a click of a button. I compare and contrast the work of Graeae and DisAbility Project and show how the work of the aforementioned scholars helps both companies attain more exposure and become well known in the world of theatre. ii Dedication To my family, friends, and colleagues who have supported me during this long journey and who never doubted me even when I doubted myself. To my wife Kellie Ann, my number one fan, and my children: Tony, Rachel, and Allison. To my grandchildren Charlie and Sam. To my brothers Danny, Kevin, and Matt. And to all disabled artists who strive to achieve equality in theatre. This is for you. iii Acknowledgments Many thanks to all the people who helped make this possible. Lesley Ferris, Distinguished Professor of Theatre, who never gave up on me and helped guide me through the entire process after welcoming me to the department 11 years ago My committee members for all of their support and advice through my candidacy exams and dissertation: Karen Mozingo, Beth Kattelman, Joseph Brandesky, Alan Woods, Brenda Brueggeman, and Janet Parrott. The members of The DisAbility Project who welcomed me into their lives to provide insight into their invaluable work: Joan Lipkin, Becky Galambos, Angie Schaeffer, Ana Jennings, Margaret Jorgenson, Jen Medina, Vanessa Roman, and Bryan Jones. Everyone from OSU who gave so much support: Andrew Blasenak, Chris Hill, Chris Roche, Chris Matsos, Kevin McClatchy, Johnathan Boyd, Pamela Decker, Mina Choi, Peter Cutts, John Kuhn, Eric Mayer, Damian Bowerman, and Logan Kelly. The artists from Graeae Theatre Company who met with me even when their work limited their free time, especially Jenny Sealey and Jodi-Alissa Bickerton. To Carter Johnson from the OSU Writing Lab for her assistance with editing. I would like to also thank the Graduate School and the Department of Theatre at OSU for supporting this project with a travel grant to allow me to visit The Graeae Theatre and finish my research of the company. Finally, I would like to thank my wife Kellie Ann for all of her patience and support through all the difficult times of my doctoral studies. iv VITA JONATHAN W. KOCHENSPARGER 2709 California Ave. Kettering, OH 45419 (937) 654-1402 [email protected] [email protected] EDUCATION M. Ed. 1995 Wright State University. Computer Education Classroom Teacher. B.S. Ed. 1987 Wright State University. Secondary Social Studies Comprehensive Education/ Theatre Education. FIELDS OF STUDY Doctor of Philosophy in the Graduate School of The Ohio State University v Table of Contents Abstract………………………………...…………………………………………………. Page i Dedication……………………..……………………………………………….…………. Page iii Acknowledgements…………………………………………...…………………………... Page iv Vita……………………………………………………………………………….……….. Page v Chapter 1: Introduction……….………………………………….……………………..… Page 1 Chapter 2: Disability Scholars and Changes Since the Adoption of the Americans with Disabilities Act of 1990………………………………….…….………………………... Page 12 Chapter 3: Joan Lipkin and the Formation of the DisAbility Project in St. Louis, Missouri…………………………………………………………………………………. Page 45 Chapter 4: Beginning of the Graeae Theatre of London, England and Their Current Work……………………………………………………………………..……,,. Page 72 Chapter 5: Conclusion…………………………................................................................ Page 97 Appendix A: Interview Transcripts with DisAbility Project Artists…............………..... Page 109 Appendix B: DisAbility Project Script 1………………………….…………………...... Page 279 Appendix C: DisAbility Project Script 2………………………………..............……..... Page 281 vi Appendix D: Interviews with The Graeae Theatre Company…….…..............……….. Page 287 Bibliography………………………………………………………………..………….. Page 304 vii Chapter 1: Introduction Disability theatre. What is disability theatre? This chapter will serve as an explanation of the term as well as a guide for people seeking to incorporate disabled artists in their companies. Information about this topic is relatively new as many theatrical organizations with disabled performers are just beginning to chronicle the works that have been staged by their companies. Disability theatre encompasses every aspect of theatre, from writing to directing and all parts between. There are companies like Graeae Theatre in London, England that exclusively hire disabled artists. There are some like the DisAbility Project in St. Louis, Missouri that are made up of both disabled and non-disabled artists. There are companies that produce original works and others that produce established material while others produce a combination of both. Any organization that works with disabled artists must decide on whether or not to bring its facilities up to date and meet the standards for accessibility. The only theaters that have such accommodations are newer buildings designed by people who had the foresight to plan with those standards in mind. The physical limitations of each theatre present unique difficulties for each disabled actor. Lack of an elevator will not prevent an actor with multiple sclerosis from getting on stage, but the steps that exist might prove extremely challenging and potentially could cause him or her harm while climbing up or down. My work on this dissertation started in 2008 at Ohio State University in Columbus, Ohio. The origins of my work with disabled artists goes back much farther. The first time I met a disabled person was in 1974. In my hometown of New Lexington, Ohio we have a facility that houses 1 disabled residents. It once served as a Catholic high school and included a gymnasium. While waiting for my ride home from basketball practice I met and started conversing with a resident named Jim. It is part of my upbringing to welcome anyone who wishes to become friends. We and I became friends shooting baskets and passing time until I had to go home. Several years later I began my undergraduate work at Wright State University in Dayton, Ohio and was awarded one of two scholarships in the theatre program with an incoming class of 140. This was a tremendous honor and signaled that I had chosen the correct field. In April of the following Spring my mother passed away and it led me to rethink my choice of professions. I decided to leave the Acting program and pursue my education degree which led to dual certification in Social Studies and Theatre. After graduation I worked as a substitute teacher for Beavercreek City Schools in Beavercreek, Ohio. I was one of the only substitutes who voluntarily filled in for the Special Needs classes which gave me the opportunity to work with many of our younger disabled students. I was hired full time that year as a social studies teacher. While working at Beavercreek High School in Beavercreek I continued to work with many community theatres until the supplemental position opened that allowed me to direct one play a year. In 2002 one of the Special Needs teachers approached me about directing a group of disabled students in a play. Karen Morgan and I had worked well together with disabled students who had both of us as teachers. When she asked me to direct this show I immediately said yes. Morgan’s question had actually been “Can this be done? I don’t know how to direct, but if you can do that, I can make everything else happen that is needed to put on the show (sic).” Working 2 with a group of over 15 students (the numbers varied based on which students showed up on a given day) with varying disabilities was unique but not impossible. I chose the script Parcel by David Campton. The parcel in this play is a reference to the Grandma who is old, silent, and almost immobile. Grandma is being passed from one relative to another as they take turns caring her.
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