Access research Phase 1: Reflecting on our learnings at The Cockpit Theatre
As part of our accessibility research for Where We Meet, we’ve now completed Phase 1 at The Cockpit Theatre (London), where we evaluated the performance with disabled participants and opened up a space for feedback, reflection, and co-creation.
Image by Stefano Sasso
What were we evaluating?
In Phase 1, our objectives were to evaluate the current version of the performance, with a strong focus on d/deaf and hard-of-hearing audiences. We completed 16 performances at The Cockpit Theatre in February/March, which helped us to analyse the current audience journey and friction points. We invited specific participants to provide feedback, as well as a post-show questionnaire for all audience members.
Our original intention was to invite participants to experience the performance “as is,” knowing that we were in the early stages of defining what accessible immersive performance could look like. But we quickly realised that we had to provide early access provisions for the show to engage with our participants, especially with d/deaf and hard-of-hearing audiences due to the spatial audio nature of the show.
To support participation at this stage, we took a few steps for access provisions:
Published our first version of our accessibility guidelines on our website
Provided BSL interpretation during one performance
Provided different options for the headphones and trackers, specifically with hearing aid users in mind
Images: Rehearsal process with the BSL interpreters
What did we learn?
Phase 1 of the project confirmed our initial research findings that existing accessibility guidelines for theatre don’t fully apply to Where We Meet. Immersive, interactive formats require new ways of thinking about access that are just as flexible and responsive as the work itself.
Key learnings: D/deaf and hard-of-hearing audiences
Challenges of integrating BSL in a free-roaming space
As Where We Meet is a “choose your own adventure” performance, we decided to place one BSL interpreter next to each dancer, so BSL users could move around the room and get interpretation at any time for any character. Whilst performance gestures paired well with BSL, we found that involving BSL interpreters required additional consideration in the space, especially around lighting, and positioning of interpreters who will now need to sign in 360 degrees. We also faced challenges with lighting during the performance as Where We Meet is mainly lit from above, but BSL interpreters need their hands and faces fully visible. We opted for portable lights attached to the interpreter's belt as a last-minute solution.
D/deaf and HoH communication preferences
It became clear that there are different communication preferences within the D/deaf and HoH community, varying between being BSL users, learning BSL, relying on lip reading, preferring captions or a combination of all. This has reminded us that our future approach needs to be modular and flexible, as there’s no single solution that works for everyone.
Headset limitations
We received important feedback that our current headphones created an uncomfortable buzz sound when used over hearing aids. We also learnt that hearing aid technology varies significantly, so we need to explore a broader range of tech approaches. One concern we hadn’t anticipated: some participants felt nervous about disconnecting their hearing aids from their personal devices to connect to the performance system, for fear they might not be able to reconnect afterwards. We now know we need to offer multiple audio access options and explore better compatibility across a range of hearing technologies.
Key learnings: accessible journey, consent and sensory needs
The accessible journey starts before the performance
One of the clearest insights - and reminder - from Phase 1 is that accessibility doesn’t begin when the theatre doors open - it starts from the moment someone hears about the show and might decide to attend.
While our published accessibility guidelines were a good first step, we learned that:
Information needs to be more targeted, timely, and easy to find.
Different access needs require different types of preparation and communication.
More time and space for onboarding
We found that more time is needed between performances to properly support access onboarding. We now know audiences would benefit from:
Clearer signage and communication on site to help orient themselves earlier if they have access needs
A quieter, less time-pressured environment to understand how to engage with the piece and get support when they arrive.
Consent is an ongoing process
Consent is already built into Where We Meet through the performer-audience relationship, but we know we need to go further by:
Embedding clearer consent prompts and choices into the onboarding process.
Being transparent about proximity, interaction, and the emotional content of the piece.
What’s Next?
We’re moving on to Phase 2 of our research, taking place at the Galvanising Shop at the Historic Dockyard in Chatham, in partnership with the University of Kent and iCCi. This phase focuses on co-creation - working closely with disabled artists and consultants to prototype solutions that centre their lived experience.
In this phase, we’ll be exploring:
Hardware adaptation: For d/Deaf and hard-of-hearing audiences, especially hearing aid users, we're looking into additional audio solutions that go beyond our current headset model. Our focus is on improving clarity, comfort, and compatibility.
Creative and spatial captioning: How we can use live captioning with the existing script and our interactive system, as well as creative options for expressing some of the emotions through additional visuals and typography.
Onboarding: When is the best time in the journey to share key access information, and how can we offer tailored support for audience members who need adjustments or additional care.
Messaging: How we communicate about access - both in tone and timing - matters. Our goal is to ensure audiences know what to expect and feel confident making informed decisions about attending.
Stay posted for our next set of learnings!
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Acknowledgements:
This Access Research project is led by Clarice Hilton, with the support of Jané E Mackenzie, focusing on D/deaf and hard-of-hearing.
Thank you to MC Geezer for participating in the research so far.
Thank you to our BSL interpreters for supporting this journey: Susan Merrick, Caralyn Eastwell and Oscar Tena.