Where's My Story?

A forum to discuss the effects of representation in theatre on young people’s mental health.

As You Like It production photos_ 2019_2019_Photo by Topher McGrillis _c_ RSC_273577 — © RSC Browse and license our images

This panel discussion was held on 20 May 2019 as part of the collaboration between the RSC and The University of Birmingham. It was developed in response to Mental Health Awareness Week and explored the potential effects of representation in theatre on young people’s sense of identity.

The panel was chaired by Professor Matthew Broome, Chair in Psychiatry and Youth Mental Health & Director of the Institute for Mental Health, University of Birmingham. Other members of the panel were:

Dr Niall Boyce, Editor of The Lancet Psychiatry

I trained in psychiatry in north London, joined The Lancet as a Senior Editor in 2010, and launched The Lancet Psychiatry as its founding Editor-in-Chief in 2014. I am also a part-time PhD student at Birkbeck College, London, currently researching the staging of dreams in Renaissance theatre.
The question about representation—both in general and with specific regard to mental health—is of immense importance in psychiatry and the arts. Both have a mixed record in this area, with a tendency to simplify, reduce, and stereotype people with mental health problems, rather than reflect the true nuance and complexity of their lives. The solution lies in including, listening to, and collaborating with individuals with lived experience. Moreover, I believe that meaningful engagement between mental health science and the arts is not an optional extra, but is vital to both disciplines in their ongoing exploration of the human heart and mind.
Caroline Horton, Theatre-Maker, University of Birmingham Creative Fellow

I am a theatre maker, writer, performer, and currently Creative Fellow at Birmingham University’s Shakespeare Institute.
As a white, heterosexual, able-bodied, middle class woman my privilege is huge. And although women are still less represented at higher levels, I see many people like me in the theatre industry. If my privilege is a sort of 'absence of difficulty’, it’s easy for me to forget the importance of representation.

But I was recently reminded of its power whilst watching Hamlet played by a woman in her thirties at Leeds Playhouse. Seeing ‘someone like me’ in that role connected me with Hamlet's mental distress in an entirely new way. As many of us do, I struggle with depression and I heard ‘Oh that this too too solid flesh would melt’ as if for the first time; I felt utterly understood and less alone.

Broader, better representation of all minority groups in art and culture means more people feel heard, understood and less alone.
Stephen Unwin, Theatre Director and Chair of KIDS charity

I am a theatre and opera director, who has written eight books on theatre and drama, and several original plays. I am a campaigner for the rights of people with learning disabilities, and Chairman of KIDS, a national charity which provides a wide range of services to disabled children and young people and their families.

I am particularly interested in the disconnects between learning disabilities and high culture and how we can develop more fruitful understandings. I feel that learning disabilities are the forgotten disability and that we can’t speak meaningfully about Diversity and Inclusion if we don’t address the issue. Centres of cultural capital have a real responsibility, I think, in this area.
Justin Audibert, Director of The Taming of the Shrew
Charlotte Arrowsmith, Actor in As You Like It and The Taming of the Shrew

I am an actress, emerging director and drama workshop leader. I have been in this industry for over 20 years and growing up was a difficult time with regards to finding my deaf identity and knowingly being different. I have always enjoyed performing, dancing, creating sign songs and imagining stories and plays but there were a lack of role models to aspire to. I went via the long route to get to where I am today, getting a university degree in theatre and education so I could teach young people and make those changes for the better.

Despite the lack of representation in our industry to show the diversity and language differences in our group bracket, deaf actors today are defying the odds, making ripples and finally getting attention and recognition. We all have our own struggles and lack of representation. We need to continue to strengthen the role models we have and show young (deaf) people that anything is possible with hard work, but we also need to give them support, compassion and understanding to have an equal footing with everyone else
Holly Moyse, Youth Advisory Group member from the Institute for Mental Health, University of Birmingham

Mental health is increasingly being recognised as a serious issue for young people today. The stories we see, read, and tell in our daily lives help us understand our own and others’ experiences. Such stories told through theatre can be powerful in embodying these experiences but can also present problems in considering whose stories are being told, by whom, and how such representation can affect us.

A key theme of the discussion was about the importance of increasing awareness of minority groups through inclusion. Stephen Unwin talked about how people living with learning disabilities are often a forgotten minority in concerns about diversity. In sharing her story, Charlotte Arrowsmith talked about the importance of positive role models for deaf young people. She called for theatre companies to be brave in order to broaden the views of audiences.

Dr Niall Boyce explained how laughter is a profound social bonding experience but this can mean we laugh at things that make us feel uncomfortable and we need to remain aware of how our laughter might make others feel. Caroline Horton explored how much easier it is to connect to a story when you can recognise yourself represented in it, and our need to listen to those with experiences different to our own.

The discussion also touched on the responsibility of the arts industries to question inequalities and the extent to which those inequalities affect the stories we get to hear and tell. Holly Moyse talked about adapting classic stories to be more inclusive of working-class perspectives. The panel also acknowledged the risks of trying to represent other people’s lives on stage. Justin Audibert said ‘As artists, we don’t have a right to represent anyone else’s life but we do have a responsibility to do so as best we can.’

Dr Niall Boyce, Editor of The Lancet Psychiatry

Caroline Horton, Theatre-Maker, University of Birmingham Creative Fellow

Stephen Unwin, Theatre Director and Chair of KIDS charity

Justin Audibert, Director of The Taming of the Shrew

Charlotte Arrowsmith, Actor in As You Like It and The Taming of the Shrew

Holly Moyse, Youth Advisory Group member from the Institute for Mental Health, University of Birmingham

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