Hi, my name is Jordan. I am a special education
teacher from the UK. I share my passion for everything
communication, sensory regulation and fun lesson
ideas for my classroom of disabled pupils aged
4 to 11. Each week I am joined by experts in
the field answering your questions and sharing
our knowledge and experience working alongside
our beautiful young people. Let's get started.
Hello everybody and welcome to the Sensory Classroom
podcast. Today I am joined by Frozen Light Theatre,
a wonderful and accessible theatre company aimed
at adults with PMLD. Hello. Hello. Thank you
so much for being here. We're super excited to
be here today. So pleased. I've often just speak
to speech and language therapists or creational
therapist teachers, but oh my goodness, I came
across your account and it's so exciting to me.
And I just think everybody has to hear about
this. And there's so much we can learn from you.
So I'm really appreciative of you being here
today. Thanks for having us. So I've explained
a little bit, a really little bit about what
you do, but in your own words, what is it that
you do and what makes you? different from other
theatre companies? So we make what we describe
as sensory theatre and as you said for adult
audiences with profound and multiple learning
disabilities and we're really excited about transporting
audiences to new worlds and have new experiences
but making sure that's accessible. Every part
of our show has a sensory element. goes with
it. So say, for example, we're in the desert,
then we'll have a bowl of potentially like warm
sand that gets taken to the audience. And it
serves the purpose of showing the audience where
we are on a sensory level, but also allowing
our performers to have a kind of nonverbal communication
with our audience member and bring that prop
and go, I've got this cool thing. Do you want
to show me what we want to do with it? And have
this kind of conversation and really see the
people that are in the audience. So the audience
are very much. a part of the production. And
we take those shows and we tour them to 60 venues
across the country. We specifically tour art
centres and theatre venues across the UK. And
both of us come from a background of touring
SCN schools. And when we started Frozen Light,
we made a very specific decision to say, OK,
no, we want to take our shows outside of kind
of settings and take them into theatre spaces.
And part of that was around creating really high
quality theatre events and with huge theatre
sets and theatre lighting and theatre sound to
make it a really high quality piece of theatre.
And I'm assuming because you're taking it outside
of these settings that are built for people with
profound and multiple learning disabilities,
that you're also... being faced with the same
barriers in the local community that they're
facing every day so can you talk to me a little
bit about those barriers and how you as a theatre
company are kind of overcoming that because I
think that would help everybody in the local
community as well. So we're you know we're very
passionate about taking the work out to theatres
and I think it came from a space where when we
were performing in special schools kind of We
were going in when the rest of the school had
gone to the Panto and those guys with the most
complex needs, with the most profound learning
disabilities couldn't go to the Panto because
it wasn't accessible. And so we really wanted
to fill that gap. But we knew that in doing that,
we would need to do a lot of work with those
theatre venues so that they had everything in
place that was needed to ensure that they were
welcoming and open. to our audiences what does
that yeah what does that look like what like
because i suppose it's physical things like ramps
and toilets and seating space but is it also
is there other elements to consider as well making
your space accessible so firstly our shows are
for an audience of six people with profound learning
disabilities and their carers so okay a really
small audience so that there is time for that
one -to -one interaction that means that the
audience who are often six wheelchair users,
will be on stage with us and our set. So we need
quite a large space. We can't perform in like
a tiny, a tiny little theatre. And it needs to
be a large open space, like a black theatre,
black box with removable seats. It's kind of
our ideal space. It needs to be kind of eight
metres by eight metres at a minimum. So we're
already looking for theatres that have this kind
of very accessible space that is accessible for
an all wheelchair using audience. And then we
also want to ensure that the audience can always
come through the front door of the theatre. That's
really important for us. So sometimes we might
speak to a venue that go, OK, yeah, but there
is an accessible route through the back of the
car park. And we go, no, no, no, we really we
we won't come unless the audience is coming in
through the same entrance as everyone else. So
that is kind of like an absolute basic. But at
the same time, we are aware that we are touring
to venues that were built a long time ago. And
there's all sorts of. historical you know what
do they call them when they're when they're historical
when you like a grade one listed building or
grade two listed building it's a can actually
physically change yes there's a grade one listed
building so so there are certain things that
we say the audience have to be able to do but
there are other things that we try and make it
work um one for example is you mentioned toilets
we're extremely passionate about changing places
toilets um and we love touring to venues with
the changing places toilets but we cannot tour
to 60 venues with a Changing Places toilet because
they don't exist. So it's about trying to get
to all the venues with Changing Places toilets,
but then also knowing that that doesn't happen
everywhere. So we often say to venues we're going
to, could you let audiences know where the closest
Changing Places toilet is just so they've thought
about it? And also to say to venues, you know,
tell audiences what your accessible toilet is
like. Is it big? Is it small? Do you know the
measurements so that audiences know what to expect
from a venue? And one really exciting thing that
has happened is when we first started touring
12 years ago, I think about five venues we toured
to had a changing places and now about 12 do.
So to have been on the road for 12 years and
to have seen that actual change in buildings
and building planning has been really amazing.
And obviously we hope in the future that every
venue will eventually have a changing places
tour. And I suppose you're... proving to these
theatre companies that these people exist and
are visible and are worthy of theatre and you
know all of these things that seem obvious when
you're in the bubble I know you're in my bubble
too we know this stuff but sometimes our bubble
bursts doesn't it and we realise that actually
not everybody does think that way or know that
way through ignorance through lack of understanding
through lack of experience whatever it is they
don't realise that they're not actually accessible
at all even though they might have some access,
they might not be fully accessible. So by seeing
your theatre and by seeing your audience and
seeing how it works, I hope that the theatre
are also left with questions and how they can
improve. And that was one of the reasons we wanted
to tour to theatre venues, because I have a really
strong belief that only when people are visible
is the world going to get better, you know, and
if it's, unfortunately, society is so challenging.
often that people do just stay home or stay in
their institutions and so we wanted to do this
to be like let's let this group of people through
the door and see what they can bring to your
organization and that extends to the fact that
you know we're very clear with theater venues
we will be in the brochure. And no, we won't
be a small bit at the back. We will be on the
next page next to the Rombert or Stadler's World,
whatever, you know, we want to be there because
you should be shouting about this audience that
exists within your community and shouting about
what you're doing to enable them to come through
your doors. Yeah, and to make it feel more accessible
to other people in the community that might be
really fearful or had a really traumatic or bad
experience in the past to maybe try again because
it might be different this time I suppose that
you're trying to have that conversation aren't
you yeah and when you talk about different sorts
of barriers that audiences face some of those
barriers are attitudinal so we provide training
to every venue we go to we used to do that in
person we used to go to every venue and kind
of provide training on who the audience are what
to expect but then we realized that actually
a lot of venues have quite fast staff turnovers
so we would do the training and then by the time
it would get round to it the staff have moved
on so we now have an online training platform
so every venue that we tour to are expected to
take part in the online training platform and
that has been specifically curated to theatre
technicians to theatre programmers to theatre
front of house and it's a different journey you
go on through the training depending on what
your role is And the idea of that is that everyone
who has anything to do with our show will take
part in the training. It only takes half an hour.
And that is all just about welcoming an audience's
profound learning abilities and making people
feel welcome because it isn't just about our
show. We've obviously spent a really long time
making sure our sensory show is the best possible
thing they can be. But we want to make sure that
the audience's entire day out is fantastic, not
just the hour of our show. And we've had a really
positive response from that online training.
And our hope is that a venue would then go on
to look at other accessible opportunities within
their local communities. So that's great that
they've had Frozen Light, but is there also an
accessible music event that could happen? Is
there other accessible theatre companies that
could be programmed? And hopefully through having
Frozen Light, that will then make the venue more
accessible by programming other people as well.
absolutely and it's so needed it's so important
i feel like lots of the support systems and just
stuff on offer kind of falls off for adults um
i mean schools especially special schools are
incredibly good and proud of inclusive practices
and events and you know holding all these workshops
and things and then colleges sometimes but it
kind of just falls off like it just seems to
be this abyss of nothing and that's so wrong
and i'm really pleased that that is your focus
in particular i do think it really sparks a really
important conversation so you said you had training
for the theatre I'm assuming as a company as
well you also keep your actors and everybody
that you bring along on tour up to date with
training as well what does that look like is
it something that you continue to do is something
you do in -house and what is important to include
within that so for for a lot of years myself
and Amber um were in the shows and we said had
a background um working in special schools but
also I worked in adult social care for a lot
of years which was kind of all the passion of
working for adults and seeing that lack of accessible
opportunities working in a day centre and so
we performed in it and just kind of did it when
we've taken ourselves out of the shows because
our tours have got so massive we've spent a long
while developing a kind of training program with
the actors and We've done various things and
it's ever evolving. But with the cast that's
on the road at the minute with our show, The
Ancient Oak of Baldor, we delivered a really
practical kind of actor training that is absolutely
based on connection. And that's what you need
to be able to do. So when we cast, we're looking
for actors who are able to be open, who are able
to improvise, who are able to take off their
mask, who are able to kind of access interactions
on a very human level. And then the training
that we did is about holding that connection,
about being open, about playing. And as performers,
as actors, you know, they're the skills that
we have. That's the gift that we have is inherently
we're good at playing and have gone into adulthood
and people have allowed us to carry on playing.
What a gift. And so to be able to bring that.
to the audience and not every actor can do it
you know it's difficult you know if you're an
actor that wants to say your lines in the same
place every night that's not going to happen
in our shows but you may say your line but you
may be being hugged by someone at the same time
that's fine and so giving giving the actors those
skills and confidence to be able to improvise
and to be able to kind of do whatever the audience
needs from you everything we do is about saying
yes to a group of people who often said no to
so we kind of create this safe space and where
we can go yeah you want to throw that on my head
let's see what happens because I've got budget
to to um replace that and I can um I can up and
your mum doesn't have to You know, what a gift
as well. You know, like we can make as much mess
and no overworked teacher, carer, parent has
to do that. Like we can do that. So actors as
well who are willing to sweep the stage afterwards
and things like that, you know, so all of that
is tied into the training. As an actor, I can
feel that is so exciting to have a different
show every night, to not really know what's going
to happen, to have this energy in the audience.
We're such a bespoke audience as well, you know,
six adults and their carers. is so quite intimate
isn't it it's so intimate that that seems really
exciting to me as an actor that you never really
know what it's going to feel like it could feel
really emotive it could be really loud it could
be really quiet and quite you know emotional
and and you know like you say a structure a script
but also to be able to play with that is so exciting
yeah for the actors and the audience I can imagine
because they're part of it they're part of the
cast almost it's so intimate is that kind of
how it feels? Yeah, definitely how it feels.
And again, I think it's a really exciting opportunity
as a performer to be able to do that. They're
not shows that you get bored of doing and you
can do the same show 200 times and it feels really
different every time just due to how much it
changes. Just in those one -to -one moments,
our script stays the same, the structure of the
show stays the same, the show won't ever kind
of... change its form entirely but those one
-to -one moments with the audience really changed
the feeling and experience of you as a performer
in the show adapting adapting while still respecting
privacy obviously I don't want you to give any
too much away but could you explain like is there
anything that comes to mind as you're as you're
saying exactly that those lovely intimate moments
between the cast and the audience does anything
spring to mind as to what that What a lovely
moment, basically, just so that our listeners
can kind of picture what that might entail. I
think it's something I always tell the performers
is, you know, you think you know, after you've
done the show a hundred times, you think you
know everything that can be done with this prop,
but that an audience will always surprise you.
So we had a kind of a show I was doing. We had
kind of torches and mirrors and we were working
with the audience with reflection. And I've done
this show like a lot of a lot of times, 50 times
or something thinking of this is what we do.
We look and someone grabbed the torch, made me
open my mouth and then inspected my teeth, you
know, and you go, OK, that's the new one. I'm
excited now. Let's you know, and then I can take
that and incorporate that when I meet someone
else and go, oh, this guy yesterday taught me
this cool thing. Should we have a look what that
is? You know? Yeah. Is this cool to you? Yeah.
Yeah. We talk about the sensory moments in our
shows as offers, offers to the audience. So,
you know, we are offering a plate of pickles.
We are offering herbs to smell. We are offering
root of the tree to feel. But again, audiences
can do what they offer, what they will. So, you
know, some people might eat the pickles. Some
people might smell the pickles. Some people might
throw the pickles. And all those things are fun
things to do with pickles. So it's just about
listening. How important is it to you to create
a rich and broad multisensory experience rather
than maybe just touch or sound or texture, taste?
How much goes into your thoughts around making
sure that every sense, because I can imagine
you do, is met? So we go into a lot by in the
very beginning of our R &D, our rehearsal and
development process, we look at building. the
environment of the show what is the world where
the show is going to take place so currently
our show on the road is the ancient oak of baldor
it's got quite like a lord of the rings oldie
worldie folk feeling to it so yeah we spend a
lot of time looking at that world what does that
world look like what's it smell like what does
it taste like but saying that our different shows
do favor different things sometimes you want
it to include everything but at the same time
I would say that our last show, The Bar at the
Edge of Time, because it included like a gig
and a cocktail bar, that did lend itself more
towards a music environment and it had less kind
of hands in bowls type moments. And I'd say that
we did find that audiences who prefer kind of
rocking backwards and forwards to music preferred
The Bar at the Edge of Time to an audience who
might prefer their hands in bowls. which might
lend itself to another one of our shows, for
example, Home. So, you know, I think different
shows lend themselves to different audiences.
So we try very hard to kind of include all senses,
but you can't always be all things to all people.
And we love to be able to provide different experiences
so some people can come away and be like, oh,
yeah, I like that one, but I preferred this one.
And some people preferred The Bride at the Edge
of Time and some people prefer The Ancient Oak
of Baldor and some people love both or hate both.
And to like things and to hate things is all
part of experiencing the world and culture. And
we really welcome all of it. And I suppose just
by you offering it, rather than there being an
expectation that they would do things in a certain
way, the audience do something in a certain way,
just by offering, I suppose you are given the
opportunity to still touch and smell and do all
of those things that they might need to do in
order to access without that demand. I want to
talk about mental health. I was doing some research.
earlier that had shocking figures i don't know
if you've heard similar that uh amongst an audience
amongst any group of people 10 of those people
on average um will suffer with their mental health
at some point if you add a cognitive disability
onto that it's around 40 and if you add PMOD
so physical disability it's more like 84 % shocking
numbers I don't want people to hear that and
think oh being disabled makes you depressed because
that is absolutely not what this means it is
the oppression and the lack of accessible spaces
and the marginalization that brings on this feeling
of loneliness and depression and I think that's
why I wanted to mention that here is that it's
really important that that is at the forefront
of all our minds that we have more access to
storytelling and more access to the creative
arts and to the community and to feel included
to try and get these figures changed because
it it just isn't okay these people exist they're
here on purpose they have every right to access
the world as everybody else does and I think
it's really important that we you know kind of
acknowledge the need there is such a huge need
for access i mean theater is so emotive isn't
it it's so ingrained in our human nature even
when we were in survival mode back in when we
lived in caves art the arts existed there's a
reason why it's so important that it's so important
and it exists are you okay with just mentioning
like the you know what why is theater important
for this audience yeah the impact importance
on mental health really i think it's Really interesting
question and actually the story behind The Ancient
Oak of Baldor is looking at a story of loss and
grief and the protagonist loses her partner in
the story and kind of goes through this journey
of coming to terms with her loss. And we chose
that as a subject matter, having, again, done
this work for a really long time and having some
of our audience members who have died during
that time and seeing how death is such a huge
part of the PMRD community and also seeing that
due to just so many barriers that it isn't explored.
So one of the things we wanted to do with the
Ancient Oak of Baldor is to look at death. and
how we can process it through storytelling. And
again, we do it through layers in our work. So
there is the verbal story that is there. There
is the live music that is played. We've chosen
the cello. During this show, there's live cello
and we feel that the cello really tells the story
through quite an emotional, emotive score. So
we wanted to pick that subject to... give our
audiences the opportunity to kind of explore
challenging subjects but we do it within a very
safe space we open the show with a very fun festival
full of full of joy and the show also ends ends
in joy so it's kind of exploring different emotions
whilst keeping the audience safe yeah so important
it's actually something that we've been looking
at in my own class this year one year ago we
lost a people with pmrd and it and yeah like
you say it's unfortunately part of the caring
for and being part of a community of PMLD is
that that is that is the reality so I've also
been exploring how do we look at grief and work
through grief with these sensory based learners
because it's so important I didn't just want
to assume that they weren't aware I didn't want
to assume that they were all good with it I didn't
want to assume anything And I didn't want, certainly
didn't want to, you know, sweep it under the
rug because I just didn't think that was respectful
in any way at all to anybody. So, yeah, we did
it through storytelling and stories and senses.
And I think it was really important for the caregivers
as well in the room to know that we were acknowledging
this and marking this with some kind of legacy
that something will do year on year. The audience
experienced lots of loss, even if it isn't death,
through their peers. Lots of loss through...
caregivers and so you know there's that change
in adults people just disappear out of your life
and you never see them again it could be a teacher
it could be a carer it could be a friend who
moves schools or transitions to a different setting
they experience loss all the time in fact they
probably the community they experience loss the
most i would say and and yet i think as caregivers
we're talking about it least with with them so
finding accessible ways to do it like you say
in a safe environment that feels comfortable
and very safe to have those incredibly emotive
topics brought up is incredibly important and
important for the carer as well and I think I
think for us, you know, stories and art and theatre
and TV and film all help us make sense of the
world. That's what the arts have done is you
understand yourself or understand your situation
by seeing it reflected elsewhere. And so that
was kind of our belief. What we wanted to do
with this show is to try in a safe environment
in something that is distant. And that's the
reason you do that with art, because it is distant
from you and you can leave and it's not. it's
it's not there it's transient it happens in the
moment so that's why we wanted to do that and
then kind of going back to your question about
well -being is for me for lots of people like
their well -being is greatly enhanced by sharing
collective artistic experiences with people whether
that's dancing in a nightclub going to the theater
going to the cinema going to a gig all of those
things that people do to add -ons to people's
lives there's a reason I believe people live
and places where people find joy and shared communal
experience and this is a group of people that
are often not offered that you know especially
as you say especially when you go into adulthood
that kind of those collective shared experiences
those experiences of art are less than say what
I do And so really wanting to make sure that
we provided that, that it was fun, that it was
enjoyable, that it was a trip out, that it was
something everybody in the room shares. You share
in the energy, you share in the space. And whether
you cognitively understand verbally the story,
by having it there, you're going on the same
emotional journey as everyone in the room. You're
sharing the air, you're sharing the space, you're
sharing those feelings that are happening, which
is what we all do. We could go and see a foreign
language. film that we didn't understand but
I think you would still follow that same same
story so yeah absolutely that's why we make theatre
because we have a belief in in that and me and
Amber just love going to the theatre going to
gigs going to music going to all of that that's
what we live for so we wanted to ensure that
this group of people had the opportunity to do
that as well absolutely they're incredibly community
sacred spaces aren't they I feel like everybody
comes into a space like a theatre or a cinema
or similar as strangers and it feels different
when you leave you have a collective experience
that you've shared together you feel closer in
a way I've never left a theatre or a cinema with
a group of audience that I the same as when I
came in there's a collective hubbub about it
there's an excitement it feels a little bit safer
because you've had that shared experience and
I wonder if that transcends also into the community
of your audience as well there's kind of that
connection there of that shared experience which
is really wonderful isn't it you I don't think
you can do it any other way other than through
the arts actually that you know we don't know
each other we haven't spoken we've just been
sitting idly next to each other and yet we've
communicated and shared this amazingly emotive
experience which maybe can only be replicated
with going through some kind of trauma together
almost because again you you've got that kind
of connection and that um immediate companionship
because you've gone through the same experience
with each other well I feel like theatre does
that kind of connection as as well in some way
Yeah. And we like to have what we call in our
shows, individual sensory moments and then collective
sensory moments. So there are some one -to -one
moments that really are just about performer
and audience member, which might be smelling
herbs. But then we have these collective sensory
moments, which everyone experiences at the same
time, which is being covered in petal confetti,
for example. So, and maybe like a smell is something
that people experience at the same time. So I
think it's about a mixture of making accessible
by having something that is just for you, but
then to be able to have moments that are all
of us together. And the Ancient Oak of Balzor
and also our show Fire Songs, they're both set
in the round. And setting a show in the round
really does give you that kind of feeling of
being in a group. Yeah, absolutely. And you can
enjoy everybody else as part of the backdrop
of the show. It really does feel like you're
all collaborating on this thing, which it sounds
like that's exactly how I'll... you work which
is just rather wonderful what kind of feedback
have you had I'm sure that carers have I hope
they have shared you know reviews and feedback
on on how they found the shows and and yeah I'm
sure that resonates with you so do you want to
share some of the feedback that you that you've
had yeah I think I think it's I think it's really
interesting and we spend a lot of time thinking
about feedback because the feedback we get from
our audiences is in the moment you know it's
very much like I'm enjoying this experience I'm
having with you or I would like you to leave
now and so a lot of that feedback happens in
that kind of non -verbal space where we're having
this communication and connection and that you
know is it's very difficult to put into words
because it doesn't exist in a linguistic sphere
like it doesn't exist in words it exists in held
space it exists in this little space between
two humans the empathy space and that's quite
that's quite challenging for funders or um people
that want to know that feedback we obviously
get we get lovely feedback from from people's
family members from their carers you know um
and that that's that's brilliant and that's fantastic
it's kind of it's balancing both of those and
we have a project called the sensory studio which
is where we work with four women with profound
learning disabilities and we work with them every
month as artists and they're part of our creative
team of making our shows and and we come up with
ideas in there we take them into the more linguistic
rehearsal room we bring them back into the studio
and we work with we work in that way but part
of the reason we set up that project was to explore
to explore that was to explore how do we actually
get evaluation that is actually from the person
and not a second hand evaluation because otherwise
how do you know it's just it's just our perception
isn't it yeah um was three years in we're still
working on that question well it's it's new research
isn't it um i don't know if you know much about
dr joanna grace's work but she's just finished
her doctorate on exactly that including these
people with profound and multiple learning disabilities
in research you know how do we get this because
they're missing from so much research and feedback
and reviews For exactly that reason, because
they cannot give it linguistically, but you're
absolutely right. My God, do they give it in
the moment, actually with no inhibition, with
far more honesty than we could ever give, which
is just rather wonderful. But it's just how to
capture that, isn't it? And how to ensure that,
yeah, funders, applications and things are accessible
to that as well. I know Joanna Grace, I can't
remember her name, but she worked alongside someone
for her doctorate. Her research was with people
with profound multiple learning disabilities.
And like you say, she couldn't get their feedback.
in words or paper so she drew pictures she's
an artist but she drew pictures on post -its
and that was her dissertation research and that
is what she put in um which is just yeah what
is her name so that's johanna yes that's right
does in this so that that work came out of the
sensory studio amazing johanna johanna yes came
and worked with us in the sensory studio and
did these beautiful drawings. And she was very
committed to working with adults and so came
and worked with us. The drawings really capture
those interactions and they capture that space
in between and they capture the energy and what
was happening in that moment. And we're doing
an exhibition with her in September in Norwich,
where she's going to be exhibiting the work that
was created there alongside her thesis that she's
created for her PhD, which is called the Unreadable
Thesis. which is a tool and I don't want to talk
about her research but and my understanding is
it is a tool that is used to get to know somebody
with PMLD a kind of tool for play and a tool
tool for for learning about somebody which she'll
then have a written thesis but we're less interested
in that yeah exactly of course I'm so pleased
that I'm so pleased that you're working with
these people because it's so important and it's
so at the forefront and I feel like it's together
we're we're making change we're really you know
making these steps I think together that all
helps doesn't it you know we're on the ground
doing the experimenting and giving the feedback
and then it's an incredibly incredible mind that
are then put into something that can actually
hopefully change legislation and for anyone who
wants to check out Johanna's post -its they're
on instagram at sensory .studio .ethnography
so you can look at all the post -its that Johanna
did from the sensory studio and I think those
post -its really do share the essence of those
one -to -one moments. Yeah, I think anyone that's
a carer will look at a good few of these post
-its and know exactly what is happening because
we've felt that too. And I just think they're
really exciting. I'm really pleased. I had no
idea. Sorry, I didn't. That seems really funny.
It just shows what a small world this community
and this bubble is, right? But I just heard it
and thought it's just really exciting. So how
exciting that, you know, it's all to do with
the same project. That's just... makes it seem
even better in my mind. So people are listening.
They're going to want to get involved in this.
I know they are. So where are you touring and
how can people come and get involved and bring
their, yeah, buy tickets and get that happening?
So we're on www .frozenlighttheatre .com and
we are currently touring the Ancient Oak of Baldor.
We will have a summer season of Night Out in
Nature, our outdoor show. And our choral show,
Fire Songs, is in London in August. So if you
go on the website, it shows all the tour dates
that are currently live. And if they're not on
there yet, they will be. And we also announce
all our upcoming dates once they go on sale on
Facebook, Instagram and X. where you can find
us as at Frozen Light Theatre or at Frozen Theatre
on X. So just, you know, keep in touch. And we
also have a mailing list, which you can sign
up to on the website. And if you aren't a care
of someone with PMLD, but you really want to
see the show, do also just reach out to us. Don't
buy a ticket, but send us an email, which you
can find on our website. And we always try and
make space for anyone who's interested in our
work. amazing thank you so much i always use
these kind of chats as a bit of cpd for myself
basically so i always give myself a little mission
for the following week after these chats and
i think my one this time is to uh sit with and
resonate with the feedback the immediate feedback
i am getting from my lesson or from whatever
session i'm doing and just honor that And then
inform my practice. So if anyone else is listening
to this, maybe that could be your homework for
this week as well is just, you know, honoring
that feedback. It might not be linguistic. It
might not be from your senior leadership team.
It might not be from your colleagues, but it
is more important. And we need to really honor
that feedback. And yeah, make these changes.
So thank you so much for joining me. And I for
one will be joining that mail list and emailing
you and making my way over. unfortunately I'm
in Cornwall so it's it's just there's nothing
here there is nothing here Theatre Royal Plymouth
will be in Plymouth amazing I'll be there I'm
so excited and I know this will really excite
my love of theatre again because I have fallen
out of love with it but this is you must this
is what it is for me in my heart this is theatre
so yeah that's really exciting to me thank you
so much Amber and Lucy for joining me on my podcast
and yeah have a great theatre season this year
Thank you for having us. Thanks for having us.