Exploring accessibility in immersive performances: our approach for Where We Meet
Where We Meet is an interactive and immersive dance theatre performance that invites audiences to uncover hidden stories behind each character. At its core, the piece is about rediscovering the joy of human connection as an antidote to an increasingly digital - yet divided and isolating - world.
Using interactive audio headsets, we give audiences the gift of telepathy, allowing them to tune into the vibrant inner monologues of different characters simply by moving closer to them. We mix spatial audio, various XR technologies, and moments of embodied interaction with performers.
Whilst immersive and interactive performances open up new ways of storytelling and audience engagement, they also present significant challenges for accessibility. A study by Lulu Yin et al., Inclusive Immersion, found that 73% of disabled users have faced barriers when experiencing location-based and immersive works. This highlights the need for accessibility-first design in immersive performance.
The problem with traditional accessibility guidelines
Early on in our research, one of our key findings was that existing accessibility guidelines for theatre don’t fully apply to Where We Meet. The interactive nature of the performance means that traditional solutions—such as fixed captioning or standard adjustments for relaxed performances—are not suitable for a free-roaming, location-based experience that explores empathy and intimacy with performers. Instead, we are taking a co-design approach, working directly with disabled participants to develop accessibility solutions that fit the immersive experience.
Due to the nature of the performance, with a significant impact of audio-led storytelling and embodied interactions with audiences, we have decided to focus our research first on:
d/Deaf and hard-of-hearing audiences
Audiences with mobility challenges
Sensory needs and consent in participatory performance
Collaborating with experts and key partnerships
To guide this process, we are working with two accessibility consultants:
Clarice Hilton – Leading on co-design and research methodologies, focusing on sensory needs and consent
Jané Mackenzie – Advising on accessibility for d/Deaf and hard-of-hearing audiences
Our work is supported by key partnerships, including The Cockpit Theatre, ICCI (Institute of Cultural and Creative Industries) as part of the University of Kent, and Proto in Gateshead, with funding from Arts Council England.
Our research process
Phase 1: The Cockpit Theatre
The first phase of our research is now complete. We used our performances at The Cockpit Theatre as the first milestone to evaluate the show and involve disabled participants who were willing to experience it in its current form. This allowed us to open conversations about potential access solutions that could be designed specifically for Where We Meet.
One of our early realisations was that meaningful participation required us to put some access provisions in place from the start. We took two key steps:
We published an initial version of our accessibility guidelines, including adjustments that can be made for compatibility with assistive devices
We provided BSL interpretation for one of the performances, enabling d/Deaf and hard-of-hearing participants to engage with the work and take part in follow-up interviews.
Phase 2: Galvanising Shop, Historic Dockyard, Chatham
Building on what we’ve learned so far, we’re now moving into the next two phases of our research. The next stage takes us to the Galvanising Shop at the Historic Dockyard in Chatham, where we’re working with the University of Kent and ICCI.
Here, we’ll be running a series of co-creation sessions, focusing on:
Accessibility for d/Deaf and hard of hearing audiences, including exploring hardware technologies that are more compatible with hearing aids
Creative captioning solutions, including the use of AR glasses
Our first workshop on sensory needs and consent
This phase will take us through to May, when we will finish our research.
Phase 3: Proto, Gateshead
At Proto in Gateshead, we’ll take our research a step further by running more co-creation workshops using more advanced prototypes. We’ll also hold sessions with practitioners, opening up the conversation to those creating immersive work in the industry.
At the end of our research, we aim to publish a set of guidelines and key learnings. These will be shared across the industry to ensure a wider community of practitioners and makers have access to tools and processes for taking a disability-first approach when designing immersive technologies and formats.
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Want to get involved, check out our What’s On page for future workshop announcements.
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Lastely, we would like to acknowledge the contributions of our late friend and colleague Kat Hawkins who was part of our research team. Although no longer with us, their influence continues to resonate in this work. Our thoughts go to their family and close ones.