The 1970s saw massive waves heading towards the Disability Rights movement. While Graeae would not officially be founded until 1980, founders Richard Tomlinson and Nabil Shaban, met and began working towards the vision of Graeae throughout the decade. Productions, Ready Salted Crips and its eventual definitive version, and Graeae’s first production, Sideshow took shape during this time. 

Company Background

In 1972 Nabil Shaban interviewed at Hereward College in Coventry to do a course for the Ordinary National Diploma (OND) in business studies where Richard Tomlinson sat on the interview panel. When asked by Richard if he had any interest in drama, Nabil informed the panel that it was his greatest desire to be an actor.

Founding Graeae

In 1978 the United Nations announced that they would be designating 1981 the International Year of Disabled People (IYDP). Richard recognised this as an excellent opportunity to take advantage of and it was time for Nabil and Richard to launch their company. Launching at this time would not only utilise the international spotlight on disabled people, but there was a potential for additional funding opportunities throughout that year. Nabil and Richard then made it their goal to be fully launched, up and running in 1980.  

Richard thought they should have a goal to tour internationally within their first year. Given his new contacts at the University of Illinois, they set up a tour of the state which would run from June-August 1980. There was also an additional opportunity at the International Conference on Disability and Rehabilitation in Winnipeg, Canada which would give the company an opportunity to present to medical professionals around the world. Anyone who knows Graeae knows that this was an opportunity to subvert expectations and publicise their new company. The duo agreed to continue to devise and adjust Sideshow as Graeae’s first official production for this tour.

Before they could begin advertising and recruiting, they needed a name. Richard and Nabil agreed that the name should reference disability and come from the classics. As Nabil has stated, “the idea of using something from something from mythology to dispel and shatter the misconceptions and myths about disability, was very important and we wanted to contain that notion within the name of this embryonic theatre company. We were in the business of myth breaking.”  

Naming Graeae: 

The Myth: According to Greek legend, the three Graeae sisters shared an eye and a single tooth. When Perseus stole them, the sisters revealed how to kill the Medusa, but he broke his oath and threw away their life source. The Graeae ethos is grounded in working together and sharing resources. 

We are often asked how Graeae is pronounced so we wanted to share the correct pronunciation: “grey-eye”. 

The below animation, with illustration by Graeae patron Sir Peter Blake, narration by Graeae co-founder Nabil Shaban, words by Write to Play writer Sean Burn and animation by Dog & Rabbit, was originally created for the Graeae and Central Illustration Agency exhibition Reframing the Myth exhibition in February 2016.

Original artwork by patron Sir Peter Blake.

Recruitment begans in the Summer of 1979, Nabil and Richard hold a number of workshops to assess potential interest. These workshops led to hiring a cast of six actors, 3 men, and 3 women, all with different impairments. Rehearsals began at the Diorama in February 1980 and continued until the premiere performance in May 1980 at Surrey University in Guildford. The company then quickly left for Illinois where they would perform 27 shows in 23 days, each of these performances were in different venues all over the states. The tour was sponsored by the University of Illinois and allowed them to present to a variety of audiences including children, the elderly, and those in hospitals. Following the tour, they went up to Canada for the International Conference on Disability and Rehabilitation. Graeae did not adapt their production to suit the needs and wants of medical professionals at the event. Graeae was not created on the basis of drama therapy, Graeae was created to be a professional theatre which also subverted attitudes, misconceptions, and disrupt myths about disability. Incredibly, it did not matter that the script was honest, cutting, and critical of pity, the company was met with excellent reviews everywhere they went. 

Following their overwhelming success on their first international tour, the company returned to Britain for a tour around England and Wales beginning August 1980. This tour continued through the end of 1980 and garnered national attention leading to the BBC to film a special Arena documentary. The documentary followed their work and was aired to coincide with the opening of the IYDP. 

Sideshow premieres at Surrey University before embarking on a tour of North America. In the Autumn BBC2 begins filming a documentary on the company which will be aired to coincide with the opening of the IYDP.

Graeae’s first Theatre in Education (T.I.E) show, Endless Variety Show, written by Chris Speyer, tours the UK. Graeae participates in the first Day of Disabled Artists in Covent Garden. Graeae launches Patsy Rodenburg’s Not Much to Ask, an adaptation of Charlotte Bronte’s “Villette”. The show went on to tour the UK with Arts Council of Great Britain funding. Finally, a team of ten company members took a new production of Casting Out written and directed by Nigel Jamieson on a tour of India.

Following the success of the Casting Out tour in India, the production has a stint in London before going on a further UK tour. Later in the year, Cocktail Cabaret devised by Yvonne Allen, Bryony Lavery, Annie Lewis, Geoff Parker, Tracy Thomas, Isobel Ward, and Elly Wilkie is taken to Fringe Festival. At the end of the year, Graeae’s interpretation of Frankenstein began an ACGB funded tour that would stretch into the following year.

In Spring, a T.I.E. production, Equality Street, devised by Ashley Grey and Geoff Armstrong goes on a school tour. This tour initially targeted schools throughout London, however due to the success of these initial presentations, the tour continued throughout the rest of the year and led to a training course that was hosted in 1988.

A tour of England and Wales of Noel Grieg’s Working Hearts presented audiences with a reflection of the relationship of disability artistic expression throughout the rest of the year.

Equality Street continues to tour throughout the first part of the year. Private View, by Tasha Fairbanks, is Graeae’s first women’s project. The production toured throughout the UK and internationally in Malaysia.

The Cornflake Box, Graeae’s first community play premieres. The production focused on the independent living movement and governmental regulations around accessible housing. 

The Independent Living Fund is introduced.

T.I.E. production, Why? premieres in London and tours throughout the UK. The production reflects on growing disability rights movement and disabled people’s desire to be in control of their own lives.

Why? continues to tour throughout Spring and Summer in the UK.

Chances are… tour continues into spring of this year. In March, Revenge, which was presented by the Riversiders in association with Graeae and Greenwich Youth Aid, is presented at Greenwich Young People’s Theatre.

Graeae presents their 10^th anniversary national tour production of Hound, written by Maria Oshodi.

Following the success of the previous year, Revenge Two is created by The Riversiders, a group of young disabled people between the ages of 14 and 25 years old.

At the end of the year Graeae stages a production of Firdaus Kanga’s A Kind of Immigrant, through a national tour.

April De Angelis adapts Albie Sachs’ the soft vengeance of a freedom fighter for Graeae. The production of Soft Vengeance was directed by and starred Ewan Marshall and went on to tour internationally.

The Jungle, adapted and directed by Fiona Branson, was also presented this year to celebrate European Day of Disabled People. This production was created through Graeae’s Borderlines Project which presented performances with disabled people of all ages and experiences.

Starring Graeae co-founder Nabil Shaban, Flesh fly, a new adaptation of Ben Johnson’s Volpone launches a national tour at the beginning of 1996.

Sympathy for the Devil, a co-production with Basic Theatre Company, embarked on a nation tour. The play was written by Roy Winston and directed by Ray Harrison Graham, previously seen in Graeae’s production of Soft Vengeance. 

What the Butler Saw by Joe Orton toured nationally from Spring to Summer of 1997. The production was Ewan Marshall’s last as artistic director of Graeae.

Directed by Jenny Sealey, A Lovely Sunday for Creve Soeur by Tennessee Williams tours England.

A co-production with Fittings Multi-media arts, Fittings: The Last Freak Show premiered in May of 1999. The production turned audience’s understanding of freak shows on their head and caused political outcry at one of their tour stops.

Peter Wolf’s Into the Mystic, directed by Jenny Sealey has a run at Riverside Studios before beginning a UK tour.

The Missing Piece 2 cohort presents Federico Garcia Lorca’s Blood Wedding which toured throughout England. This cohort also presented an additional showcase of monologues and scenes in March.

Towards the end of 2001, The Changeling by Middleton & Rowley, and adapted for Graeae by Clare McIntyre premiered. The production was set against the background of the late 1960s, and it toured throughout England.

Wild Lunch VI was Paines Plough and Graeae’s first collaboration which resulted in professional lunchtime readings of new work at the Young Vic. 

peeling by Kaite O’Reilly and directed by Jenny Sealey had its world premiere at Soho Theatre. The production would go on to be revived the following year due to its immense success.

Traverse Theatre, Paines Plough, and Graeae also went on to produce a co-production of The Drowned World in August of 2002.

Named Time Out’s Best Children’s Show of 2003, Diary of an Action Man, was a collaboration with Graeae and Unicorn Children’s Theatre that toured throughout London and was revived in 2005.

Graeae was also involved in a production of The Vagina Monologues for VDAY, a global movement to stop violence against women and girls.

peeling is revived and goes on a national tour for three months.

Missing Piece 3 cohort presented Brecht’s Mother Courage and Her Children. The production starred Liz Carr as Mother Courage and toured throughout London. Missing Piece 3 also marked the inclusion of London Metropolitan University in the programme.

Finally, The Trouble with Richard, a T.I.E. Forum Theatre Schools’ production for key stage 4 students (11-14 years) toured.

On Blindness by Glyn Cannon was a co-production between Graeae, Franticassembly, and Paines Plough and toured throughout England. 

Missing Piece 4 combined audio description, sign language, live music, and physicality to create a compelling new approach to Martin Sherman’s shattering play, Bent. The production went on a national tour.

In 2004, Graeae presented On Blindness by Glyn Cannon and Martin Sherman’s Bent.

Graeae presented an innovated version of Sarah Kane’s devise play, Blasted. This is achieved through accessible design techniques and integration of spoken stage direction. The production went on a national tour.

Missing Piece Project 5 members presented Fuddy Meers, by David Lindsay-Abaire. The production went on to tour England.

Graeae premiered their first production of Sarah Kane’s Blasted and Missing Piece Project 5 presented, Fuddy Meers by David Lindsay-Abaire.

Mike Kenny’s adaptation of Snow White, Whiter Than Snow, turned the fairytale on its head and then went on a national tour.

Based on the lives of the girls in John Groom’s Crippleage in Clerkenwell in the early 1900s, Flower Girls, directed by Jenny Sealey resulted in a tour and a book publication.

Signs of a Star Shaped Diva, presented by Graeae in association with Theatre Royal Stratford East was a camp deaf cabaret that went on to a tour of the UK.

Graeae had their second co-production with Strange Fruit when The Garden premiered at The Greenwich Docklands International Festival.

Graeae’s triumphant success, Reasons to be Cheerful, featuring the music of Ian Dury and the Blockheads, premieres and goes on a tour of the UK. The production was eventually nominated for Best Touring Production and the Renee Shepham Award for Best Presentation of Touring Theatre at the TMA Theatre UK Awards.

The Rhinestone Rollers, Graeae’s wheelchair dancing troupe also debuted this year.

The Rhinestone Rollers presented their second show, Wheels on Broadway.

Graeae premieres their take on Ted Hughes’ classic, The Iron Man, adapted by Paul Sirett at The Norfolk & Norwich Festival before embarking on their initial tour of England. The Iron Man was constructed as a giant iron puppet which was brought to life by multiple puppeteers.

Write to Play, a programme which nurtures five new writers each year is launched. The programme is still running successfully, having taken a short pause during the pandemic.

Following its successful run in 2011, The Iron Man is revived and taken on a schools and libraries tour over the summer.

In association with Strange Fruit and commissioned by Greenwich Docklands International Festival, Graeae presented The Limbless Knight.

Graeae’s Youth Programme, inspired by Rhinestone Rollers created and presented, Deck the Stalls, a celebration for the festive season.

Stepping Stones, a schools tour as a part of ensemble training is launched.

In collaboration with Central Illustration Agency, Graeae launched Reframing the Myth, an exhibition at the Guardian’s exhibition space. The exhibition featured artistic interpretations of various artists and members of the Graeae collective from the company’s 35-year history. This exhibition resulted in a publication and featured a piece from Graeae’s patron Sir Peter Blake.

Graeae’s co-production Dhaka Theatre, A Different Romeo and Juliet performed in Bangladesh as Part of Shakespeare Lives which was sponsored and organized by the British Council.

A revived version of Graeae’s collaboration with Strange Fruit, The Garden performed in Brazil as a part of Rio’s 2016 Paralympic Games.

Graeae’s Youth Programme, ages 5-12, present Deck the Stalls at the Southbank Centre.

The first major co-production between the Royal Exchange Theatre and Graeae Theatre Company, The House of Bernarda Alba, presented an all-female cast in a fully accessible production of Lorca’s final play. Trailer linked below.

Reasons to be Cheerful returned in a new production with strategic touring funding from Arts Council England.

Cosmic Scallies by Jackie Hagan was A Royal Exchange Theatre and Graeae Theatre Company co-production that premiered in 2017 at Edinburgh Fringe.

Written by Paul Siret, Bartholomew Abominations, was another Naked Production and Graeae collaboration for BBC Radio 4, retelling Ben Johnson’s Bartholomew Fair in an entirely new way. Listen to the production via the link below. Click here to read the script.

Commissioned by BBC Radio 4 and Audio Content Fund, Night of the Living Flatpacks, was a new series developed by Naked Productions and Graeae with the support of dramatist Sarah Daniels.

Graeae and Tamasha presented a co-production in association with Bush Theatre, 10 Nights by Shahid Iqbal Khan, tells the story of Yasser taking part in I‘tikāf, sleeping, and fasting the mosque for the last ten nights of Ramadan. The production also included an optional audience workshop with Graeae, An Introduction to Writing, inspired by it.

A Graeae and Belgrade Theatre co-production for Coventry City of Culture, Kerbs by Michael Southan, tells the truth about romance, sex, and disability. The production opened Coventry 2021 City of Culture celebrations before a national tour.

Commissioned by the Stables for IF: Milton Keynes International Festival, The Paradis Files was a Graeae production in partnership with BBC Concert Orchestra and Curve Theatre. The story of Maria-Theresia von Paradis was a chamber opera that brought an extraordinary, blind historical figure allowing her to reclaim her spot in musical history. The touring production won an award for Excellence in Touring at the UK Theatre Awards. There is a link to a short documentary about the making of the production below.

Returning to the Greenwich & Docklands International Festival, Graeae presented This Woven O. This Woven O, created and devised by Graeae’s Associate Artists, was presented within Oliver Macdonald’s sculptural artwork.

Self-Raising premiered at Edinburgh Fringe. A Graeae production in association with the Soho Theatre and Theatr Lolo, Self-Raising was developed with The Incubator at The Egg, Theatre Royal Bath. Self-Raising is Jenny Sealey’s own story. Her story of growing up Deaf in a family with a secret.

A new hip hop gig theatre show, High Times and Dirty Monsters raises the voices of young disabled people. The production incorporated actors, beatboxers, dancers and stunning visuals.

Following the success of Self-Raising at Edinburgh Fringe, Graeae took the show on a tour throughout England. The tour ran from February through March and stopped at 10 venues.

In September, a new production of William Shakespeare’s Romeo and Juliet premiered at Shakespeare North Playhouse. The play was co-produced by Graeae and Shakespeare North Playhouse, and was presented in association with Theatre by the Lake. After an initial run in Prescot, it transferred to Keswick at Theatre by the Lake.

Image by Becky Bailey.