Inclusion and access do not have a finish line. It is not something that can be declared complete or solved once and for all. It is a practice that changes as our communities change, as new voices emerge, and as different forms of access become visible. It is also a creative resource, offering new ways to think, collaborate, design, and imagine.

This publication provides insight into the framework we are working with at Rosendal Theatre. It draws upon Battersea Art Centre’s relaxed venue framework, which was developed in collaboration with Jess Thom and Tourette's Hero, with the additional wisdom of many arts organisations, artists, practitioners, and thinkers who have expanded our understanding of what welcoming environments can be.

For Rosendal Theatre, the relaxed framework brings a clear agenda. It asks us to pay attention to and address the many barriers' people face because of systems that discriminate based on background, disability, orientation, income and age.

In this publication, disability is understood as an interaction between people’s bodies, minds, and sensory experiences and the environments, systems, and attitudes around them. A person may have an impairment or condition, but it becomes disabling when barriers limit their participation. When those barriers are reduced or removed, people can participate more fully.

This guide is not comprehensive, nor is it something to complete. It is a way to spark reflection, start conversations, and shape decisions that support more people to participate.

Relaxed approaches remind us that access is not an add on. It is part of how we create, host, and participate. They remind us that people experience space differently, and that this diversity should be supported rather than managed away.

Every section of this publication describes conditions that would support more people to enter and participate with confidence. Some of these conditions are simple to introduce. Others require long term structural change. All of them rely on the willingness to listen, to adapt, and to keep learning.

If there is a single thread running through every domain, it is this: inclusion is made up of many small decisions taken every day. No single decision is enough, but together they shape environments where more people can feel welcome, confident, and at ease. By paying attention to these decisions, and by remaining open to change, we take steps toward an arts landscape that reflects the breadth and complexity of the people it aims to engage.

STRUCTURAL

Structures shape what is possible inside an organisation. Policies, workflows, leadership models, and communication cultures quietly decide who can enter, who can stay, and who can thrive. Imagining an organisation without disabling structural barriers allows us to picture what shared responsibility, clarity, and genuine inclusion might look like.

What if all disabling and discriminatory structural barriers were removed?

We will never be done, but thoughtful organisation and clear systems, from policies and staffing to workflows and communication, can help everyone feel supported, included, and able to participate fully.

Leadership and Decision-Making

There would be leadership that includes accessibility and inclusion considerations in every decision.

There would be clear roles and responsibilities for ensuring accessibility across departments.

There would be on-going reviews of policies and practices to find barriers and make improvements.

There would be open channels for feedback from audiences, artists, and staff about accessibility and inclusion.

Boards & Governance

There would be a board that is committed to inclusion and accessibility work.

There would be representation of diverse backgrounds and lived experiences.

There would be an on-going review of governance to support an accessible and inclusive culture.

Hiring and Recruitment

There would be inclusive hiring practices to ensure fair opportunities for staff and leadership.

There would be accessible job postings and application processes. Positions would be advertised accessibly and candidates with relevant experience would always be considered.

There would be support for candidates with disabilities or access needs throughout recruitment.

There would be transparency in selection criteria and feedback to applicants.

Staffing and Training

There would be ongoing training for all staff in inclusion, accessibility, and working with audiences and artists with diverse needs.

There would be clear guidance on how to support people with different needs, without assumptions.

There would be a culture where questions about access are welcomed and acted upon.

There would be sufficient staffing to allow everyone to provide support when needed.

Programming and Planning

There would be early consideration of accessibility when planning events, performances, and workshops.

There would be flexibility in scheduling and programming to allow for different needs and preferences.

There would be contingency plans in case changes are needed to make events more accessible.

There would be evaluation processes to learn from each event and continually improve accessibility.

Communication and Policies

There would be clear, accessible policies on inclusion, ticketing, and participation.

There would be easy ways for audiences and artists to request adjustments that improve access.

There would be transparent communication about what access measures are available and what limitations exist.

There would be simple, consistent language across all internal and external communications.

Evaluation and Continuous Improvement

There would be regular auditing of structural policies, workflows, and practices.

There would be mechanisms to gather feedback from staff, audiences, and artists about what works and what could improve.

There would be clear reporting and accountability to ensure changes are implemented and maintained.

PHYSICAL

Physical space is often the first invitation or the first barrier. Every entrance, corridor, seat, and sensory cue can either open a path or close one. Envisioning a place where the physical environment supports many different bodies and ways of moving offers a way to rethink how space can feel: calmer, clearer, more possible.

What if all the disabling and discriminatory physical barriers were removed?

Not every barrier can be removed, but very many can be. Thoughtful consideration of each space, including entrances, seating areas, foyers, and backstage, can ensure many feel invited, confident, included, and at ease wherever they are.

Entrances & Arrival

There would be step-free access at every entrance, with light manual doors and automatic door openers.

There would be clear, high-contrast signage and wayfinding (including braille) to help everyone in the space orient themselves easily upon arrival.

There would be lighting that is even and not overly bright or flickering, since both glare and dimness can be disorienting.

There would be gentle acoustics, with echoes and background noise reduced.

There would be alternatives to waiting in long queues or crowded foyers, with quiet waiting options or priority entry when needed.

Movement & Navigation

There would be wide, uncluttered corridors and doorways so that people using mobility aids can move easily.

There would be floor surfaces that are level, non-slip, and not overly shiny.

There would be clear signage to toilets, exits, and calm areas to support autonomy and orientation.

There would be a working lift that can accommodate wheelchairs or mobility equipment and is easy to locate.

Seating & Performance Spaces

There would be flexible seating options so that wheelchair users and companions can sit together, and seats can be reconfigured.

There would be aisles wide enough for easy movement and space for people who may need to leave during the performance.

There would be a designated quiet or chill-out area close to the performance space.

There would be comfortable temperatures and ventilation throughout the venue.

Toilets & Changing Facilities

There would be fully accessible toilets, with reachable sinks, soap- and paper dispensers, and handles.

There would be gender-neutral toilet options to ensure everyone in the space feels welcome and safe.

There would be accessible adult and child changing facilities available to staff, artists and audiences. 

Sensory Environment

There would be monitored and adjusted sound levels, so they are not overwhelming or unpredictable.

There would be a thoughtful approach to minimising strong smells from, for example, cleaning products, smoke machines, or food.

There would be no visual clutter; signage, screens, and decorations would be simple and calm.

Safety & Emergency

There would be accessible evacuation routes that can be used safely by all, including wheelchair users.

There would be both visual and auditory alarm systems to ensure everyone in the space is alerted in case of emergency.

Ongoing Audit & Information

There would be ongoing audits of the physical environments, with clear, accessible information about which access measures are in place and which barriers remain.

DIGITAL

The digital encounter often happens long before anyone arrives at a venue. A website, a booking system, or a short post can reassure, clarify, invite, or unintentionally exclude. Imagining digital and print communication that works for more people allows us to rethink how information can feel calm, trustworthy, and usable.

What if websites, social media and print were for everybody?

They may never be for everybody, but much can be done to create clarity, accessibility, and reassurance across every online, digital, and print touchpoint, every message, ticket, post, and printout, helping more people feel informed, welcomed, and confident.

Websites and Online Information

There would be websites designed with accessibility in mind, compatible with screen readers, keyboard navigation, and captioning tools.

There would be clear language, high-contrast text, and readable fonts that reduce effort and uncertainty.

There would be explanations of what a relaxed event means, who it’s for, and what kinds of adjustments are made.

There would be detailed access information, including routes, toilets, and quiet areas, easy to find and easy to trust.

There would be images and short videos showing what to expect when arriving and moving through the venue.

Booking and Ticketing

There would be a booking process that works for diverse needs, whether online, by phone, or in person.

There would be companion and carer tickets available without unnecessary forms or proof.

There would be the option to choose seats or request specific arrangements such as aisle access, wheelchair spaces, or seats near exits.

There would be simple confirmation messages that tell people exactly what they need to know and what will happen next.

Digital and Social Media Communication

There would be pre-show information shared in accessible formats, such as plain text, large print, or audio.

There would be descriptions that tell people what to expect: lighting, sound, duration, and content notes.

There would be captions or subtitles on videos, and transcripts available for audio material.

There would be social media posts with alt text and clear readable layouts, so information reaches more people.

There would be a tone that feels calm and open.

There would be print materials that use clear fonts, strong contrast, and generous spacing.

There would be easy-to-read guides and flyers in plain language.

There would be maps, programmes, and signage that help people orient themselves with confidence.

There would be large-print or alternative versions available on request, without fuss.

There would be design that values clarity over decoration, making the invitation visible to more people.

On-site Digital Interfaces

There would be digital signage and check-in systems placed at accessible heights and usable from different positions.

There would be calm, non-flashing screens, with simple layouts and steady pacing.

There would be clear visual and tactile feedback when people interact with touchscreens or information kiosks.

Privacy and Comfort

There would be respect for privacy, no unnecessary data collection or complicated forms.

There would be short, straightforward processes for signing up or giving feedback.

There would be transparency about how personal data is used and stored.

COMMUNITY

Inclusion is not only something that happens inside a building. It happens in relationships, networks, and collaborations. Imagining a community where people feel expected, welcomed, and valued opens possibilities for participation that extend far beyond attendance.

What if anybody and everybody got involved and felt welcomed, supported and included?

It will never be possible to fully include everyone, but thoughtful engagement, partnerships, and communication can create conditions for all kinds of people to contribute.

Partnerships and Networks

There would be active collaboration with local organisations, support networks, and advocacy groups.

There would be partnerships with artists and communities with lived experience of access needs.

There would be mechanisms for co-creation, co-curation and consultation to ensure programming includes diverse perspectives.

Audience Engagement

There would be clear and open channels for audiences to provide feedback and contribute ideas.

There would be opportunities for audiences to participate beyond attending performances, such as workshops, discussions, or advisory roles.

There would be engagement strategies that reach a diverse range of people, including those who might not typically attend.

Artist Support and Collaboration

There would be accessible processes for artists and organisations to get involved in the theatre, for example through proposing projects, applying for residencies or shaping parts of the programme.

There would be tailored support for artists with access needs, including access riders paired with technical, financial, and creative resources.

There would be opportunities for mentorship, skill-sharing, and collaboration between artists from different backgrounds and experiences.

Community Communication

There would be regular updates and communications that are inclusive, accessible, and welcoming.

There would be an openness to be in dialogue about how decisions are made.

There would be celebration of contributions and recognition of diverse voices.

Evaluation and Reflection

There would be on-going reviews of community engagement strategies to identify what works and what could improve.

There would be mechanisms to gather feedback from audiences, artists, and partners.

There would be clear reporting and accountability to ensure community initiatives are sustained and developed.

EMOTIONAL

In every organisation there is also an emotional space, sometimes visible and sometimes unspoken. How a place feels affects who stays, who relaxes, who can focus, and who feels they belong. Imagining an atmosphere designed to support emotional safety helps us recognise inclusion as something lived, not only planned.

What if everyone in the space felt safe, supported, and able to enjoy themselves?

It will never be possible to fully remove stress or anxiety for everyone, but paying attention to creating an encouraging emotional environment can help all kinds of people feel more welcome, confident, and comfortable.

Atmosphere and Wellbeing

There would be staff trained to respond to emotional needs and provide support where required.

There would be quiet spaces or chill-out areas separate from busy audience areas.

There would be clear communication and guidance to reduce uncertainty or stress.

There would be reassurance that leaving and re-entering the space is acceptable.

There would be support for managing overstimulation from sound, lighting, or crowd density.

Audience, Artist, and Staff Comfort

There would be encouragement of positive social interactions and peer support.

There would be flexible arrangements to accommodate individual needs and preferences.

There would be calm, welcoming signage and cues to help everyone orient themselves and navigate the venue confidently.

There would be consideration of breaks or decompression opportunities during longer performances or events.

There would be reassurance that mistakes, misunderstandings, or learning moments are okay, creating a psychologically safe and non-judgmental environment for staff, artists, and audiences.

There would be attention to workload and emotional support for staff and artists, ensuring wellbeing is prioritised alongside audience experience.

Feedback and Reflection

There would be channels for audiences, artists, and staff to share emotional experiences or concerns.

There would be responsiveness to feedback, with adjustments made wherever possible to improve comfort and inclusion.

There would be ongoing reflection and evaluation of how the emotional environment supports wellbeing for all.

ARTISTIC

Artistic practice is where imagination, experimentation, and care meet. It is also where inclusion can become creative, expansive, and transformative. Thinking about how artistic processes themselves might welcome more people opens a different kind of conversation, one that treats access as a language of possibility rather than limitation.

What if artistic work, processes, and aesthetics were shaped with inclusion at the centre?

We will never reach a point where every artwork is accessible to every person, and nor should artistic expression be reduced to checklists. But thoughtful artistic processes, supported experimentation, and an openness to diverse forms of experience can help create work that more people can enter, relate to, and be transformed by.

Creative Vision and Intent

There would be artistic visions that consider access and inclusion from the earliest stages of development.

There would be space for artists to ask: Who is this work for? Who is involved in making it? How will people with different experiences enter it?

There would be openness to adapting initial ideas when access considerations reveal new creative possibilities rather than limitations.

There would be value placed on aesthetics that welcome diverse sensory, cognitive, and emotional responses.

Processes and Collaboration

There would be rehearsal and creation processes that accommodate different working rhythms, communication styles, and access needs.

There would be shared vocabularies and tools that allow artists with diverse needs to contribute fully. 

There would be collaborative agreements or access riders that outline needs and expectations clearly.

There would be flexibility built into timelines so that no one is excluded due to pace or process.

Forms, Aesthetics, and Experimentation

There would be permission for artists to explore accessible formats as central artistic strategies. Not as add-ons, but as integral parts of the work.

There would be curiosity about how captioning, audio description, tactile maps and relaxed approaches can expand artistic languages. 

There would be recognition that accessible aesthetics can be bold and contemporary.

There would be experimentation with multisensory work that invites different modes of attention, focus, and perception.

Performance and Audience Experience

There would be clear artistic consideration for how different audiences will experience time, intensity, sound, light, and interaction.

There would be honest communication about what audiences can expect, without diminishing artistic mystery or impact.

There would be multiple ways for audiences to enter the work – visually, aurally, socially, or physically – acknowledging that not everyone experiences the performance in the same way. 

There would be approaches that allow for rest, re-entry, variation, or alternative modes of engagement.

Artist Support and Development

There would be equitable access to, for example, residencies, commissions, and development opportunities for artists with disabilities or access needs. 

There would be mentorship and peer support structures that encourage new voices to shape the artistic field. 

There would be access budgets built into artistic projects from the start, not added later or treated as exceptional. 

There would be tailored support to ensure artists can focus on artistic inquiry rather than battling logistical or structural barriers.

Documentation and Sharing

There would be accessible documentation that allows different publics to engage with the work. 

There would be reflection on how artistic knowledge is shared: who it reaches, who it excludes, and how it can be opened further.

There would be space for audiences to voice how they experienced the work and space for artists to respond, adjust, and evolve.

Ethics and Responsibility

There would be a commitment to ensuring that how people are represented is thoughtful, collaborative, and not extractive.

There would be transparency about artistic choices, especially where access cannot be fully provided.

There would be care in how bodies, identities, and differences are portrayed, avoiding harmful stereotypes or aestheticising vulnerability.

There would be accountability for how artistic decisions impact audiences, participants, and collaborators.

Evaluation and Continuous Artistic Growth

There would be ongoing reflection on what artistic inclusion means for the specific context, form, and community.

There would be willingness to let feedback reshape future artistic decisions.

There would be understanding that inclusion is a creative practice, not a technical requirement – one that evolves over time with experimentation, humility, and care.

RELAXED DICTIONARY

Relaxed Performance
A performance with a lower threshold for participation, adapted for those who find the setting overwhelming or uncomfortable. Here, it is allowed to move around, make noise, come and go during the performance – and the etiquette rules are less strict.

Sensory-Friendly Performance
In addition to the measures that apply to a relaxed performance, sound, lighting, and any special effects (such as smoke) are also adjusted so that the experience is gentler for audiences with sensory needs.

Touch Tour
A guided tour before the performance, where scenography, costumes, and other key elements are presented in a tactile and descriptive way for audiences with visual impairments.

Audio Description
Audio description conveys visual expressions that are otherwise perceived through sight. The describer explains what is happening on stage.

Sign Language Interpretation
A sign language interpreter conveys what is otherwise perceived through hearing. The extent of interpretation can vary – it may include all speech, song lyrics, and music, or only certain parts of the performance.

Content Warnings
Provides information about potentially sensitive content in a performance. Some content may be physically or psychologically challenging for certain individuals, and the warnings can be available via a drop-down menu on each performance page on the website.

Relaxed Space
A dedicated room where the artists we work with, the in-house team, or audience members and guests can retreat to. A quiet space for those who need a break from social or noisy surroundings.

Ear Protection
Ear protection can be used during events, either to reduce the sound experience in the auditorium or to find calm in the relaxed zone.

Fidgets
Small objects that can help with relaxation or focus – for example, a pen, an old toy, or simply something to hold in your hands.

Access rider

An access rider means an artist, employee or anyone else decide what to share with others, how, and when, so they’re not constantly re-explaining their needs. Clear access information helps others support each other better and with confidence.

Tactile guide

Is physical information with raised lines, so that people who are blind or visually impaired can either read braille or understand the design of, for example, the set-up on the stage, the building they are in, or visual components of a performance.