When it comes to accessibility, disability representation is an important piece of the puzzle, but we still have a long way to go. Studies show representation of characters with disabilities in film and TV is as low as two percent, with no available stats for theatre. For actor Debbie Patterson—last season’s Duchess of York in Richard II and Signora Zampa in Grand Magic—these stats are no surprise. Below, we get Patterson’s thoughts on accessibility in theatre as she’s personally experienced it.

1. What is a key issue that folks should know about when it comes to representation of disability in the theatre industry?
   People with disabilities have been excluded from the theatre industry and because of that, the lived experience of disability has not been accurately represented in our storytelling. (…) When I was first trying to adapt to becoming disabled, I had no role models: certainly as a disabled actor or theatre maker but, more importantly, as a disabled person. (…) We cannot possibly hope to tell the truth of the lived experience of disability without the active participation of actual disabled people.
   
   
2. When it comes to auditions, is there anything specific you look for in the audition call?
   Most audition calls include a statement on equity, diversity and inclusion, which is great.
   
   
3. In your experience at the Stratford Festival, what has been a highlight of the season for you?
   I’m loving working with all the other artists here. (…) I’m also really enjoying the training opportunities I’ve had access to and the brilliant coaches who work with the acting company.
   
   
4. When it comes to language and disability, is there anything you wish was more common knowledge?
   I think the language we use around disability is very personal. (…) Just as we ask folks we work with what their pronouns are, we can ask disabled people we work with what language they prefer.
   
   
5. What is a common misconception you encounter when it comes to disability and theatre?
   I run a disability theatre company, and I’m always encountering the assumption that the work we do is amateur because the people doing it are disabled. (…) I’m here to work in the service of the plays for the good of the audience, not for my own enjoyment.
   
   
6. I hear you have a connection with the Kardashians… Could you speak more about that?
   There’s this funny crossover in the Venn diagram between the very rich/entitled and the very disabled. Both groups employ helpers or assistants to take care of things for them. Sometimes, at the end of a long rehearsal day, when I have a wheelchair van waiting to chauffeur me home, it feels quite luxurious. “Home, James!”
   
   
7. What got you into acting; what keeps you here?
   I was an awkward kid and theatre gave me a place where I felt like I belonged and where I could contribute in a meaningful way.
   
   
8. Who are some organizations in our industry leading the way in terms of disability arts?
   Tangled Art + Disability in Toronto, Realwheels and All BodiesDance in Vancouver, Inside Out Theatre in Calgary, Sound Off Festival in Edmonton, Power Productions in Newfoundland and of course my own company: Sick + Twisted Theatre in Winnipeg.
   
   
9. Anything else you’d like to share?
   Theatre is a collaborative art form which requires a high level of interdependence of all the people involved. (…) Acting, like disability, requires generosity and trust and real vulnerability, so fostering a culture of interdependence through the inclusion of disabled artists helps us all be better at what we do.