A trip to the theatre to see the annual pantomime is a much-loved festive family tradition dating back to the middle ages. It’s a setting in which many of the rules of traditional theatre are relaxed, welcoming children and adults alike to show up exactly as they are and enjoy the theatre together. I’m certain that whilst reading this you are smiling to yourself, holding your own warm happy memories close to your heart. What if I told you that there were currently approximately 75,000 people in the UK alone for whom those magical memories are simply not an option. There’s been a lot of talk around accessibility in theatre as we are slowly seeing a rise in the number of relaxed, captioned, audio described, and BSL interpreted performances available which is fantastic but there is a key portion of the demographic being totally ignored.

PMLD (profound and multiple learning disabilities) is a term used to describe individuals who ‘have more than one disability, the most significant of which is a profound learning disability’ – Mencap. All of these individuals have significant communication difficulties and many struggle with additional sensory or physical disabilities, and other complex health needs.

Sensory Cinders markets itself as a ‘sensory pantomime’, tailored specifically to individuals who fall under the PMLD bracket. This is not just a show but an entire experience that left me feeling warm and fuzzy inside, a feeling that’s stuck around since. Not only was it a real honour to witness the joy brought to the audience around me, but a slightly bittersweet experience, watching others access the kind of theatre that little me desperately needed.

The experience begins outside the theatre, where staff created a calm atmosphere for people to arrive into, and provided a sensory corner with many items and textures linked to the show for people to hold, touch, and play with. The performers greeted each guest personally and took the time to speak with and get to know them, before escorting them into the auditorium. They begin the show by inviting each guest to the ball through a song personalised to include each person’s name in turn, and then handing out glittery invitations, adorned with the guest’s name, and written with both words and simple pictures to aid understanding.

The show loosely follows the classic story of Cinderella, although often opting to simplify or omit chunks of story and remove focus from the storyline in order to really focus on the sensory elements provided. The performers use a mixture of spoken word, song and Makaton to open as many avenues for communication with the audience as possible. Of course the classic pantomime favourites are included, with audience interaction being the main event. The audience are guided to experience the show rather than just watching it, and the usual ‘call and response’ panto interaction is replaced with encouragement to interact with their beautiful world in a tactile way. Using water, textured props and costumes of all materials; and with music, light, and sound complimenting beautifully, the sensational

cast of actor-musicians deliver a show that ticks every single sensory box.

I couldn’t believe it when I was told that not a single member of the cast has had any prior experience in theatre of this kind, as I watched them handle every moment and every visitor with genuine love, care, compassion, and respect, all of which completely engulfed the room.

This lyric from the closing number encompasses the entire ethos and intentions of this shows existence, intentions that are met with passion, respect and empathy. Sensory Cinders is a stellar example of what happens when everyone gets to experience the magic of theatre. This show’s West End debut also marks the first ever performance tailored to PMLD audience to hit the West End and the fact that even with an additional four shows added due to the level of demand, the entire run was completely sold out a month before it even opened, just demonstrates the exceptional need for theatre like this.

A patron who had come to see the show stopped me on the way out and asked if I was a reviewer. When I told him yes, he said ‘make sure you tell them that we said it was really good, and we need more’. I promised him that I would, and since the entire run of the show is sold out, I’m instead using the platform I’ve been given here to implore producers to remember how important theatre is to them, and that they have the power to use shows like this to spread that magic to so many that it currently just doesn’t reach.

You can find out more about Sensory Cinders, here.

Review by Rachel