Imagine a world where everyone, regardless of their abilities, can experience the magic of theatre. That's the powerful legacy one Liverpool nan inspired, transforming the Royal Court Theatre into a truly inclusive space. This is the story of Susan Segar, a 28-year-old who, driven by love and a deep commitment to her community, has made a lasting impact on accessibility at one of Liverpool's most beloved cultural institutions.
Ten years ago, Susan started her journey at the Royal Court Theatre, little did she know that her role would evolve into something far beyond the typical box office duties. Her inspiration? Her late grandmother, Hilda Segar, whose health condition ignited a passion within Susan to break down barriers and create equal opportunities for all.
But let's rewind a bit. Susan's connection to the Royal Court actually began much earlier, during her high school drama classes. As she puts it, she was "quite a dramatic child!" It was through the Royal Court's community engagement program, "Access All Areas," that Susan first discovered her love for the theatre. Led by Miriam Mussa, this initiative brought theatre practitioners into schools, allowing students to collaborate on creating and performing their own plays. Susan was fortunate enough to participate for about a year and a half, and this experience sparked a flame within her.
Inspired by Miriam's work, Susan joined the Royal Court's youth theatre and soon landed a job at the box office. Now, in an age where many theatres are moving exclusively online, Susan and her colleagues continue to provide a vital in-person service. "A typical shift is very busy," she explains. "We're the only theatre box office which opens during the day, so we get quite a lot of people coming in to book tickets. We also get a lot of phone calls from people wanting to book tickets and tell us what they thought of the previous night's show. A lot of people come to us and are so thankful that we've still got a box office because they've got somewhere to go and they don't have to do it online." This commitment to personal interaction highlights the Royal Court's dedication to serving its diverse audience.
However, Susan's contribution extends far beyond simply selling tickets. Driven by her personal experiences, she has actively worked to make the theatre more accessible, particularly for the deaf community. And this is the part most people miss: accessibility isn't just about ramps and elevators; it's about creating an inclusive experience for everyone.
"We offer a lot of accessible performances," Susan says. "I get a lot of people into our BSL signed performances. I've been within that community since I was very little; my grandma was deaf. My grandma sadly passed away last March, but we have been using sign language since I was two years old. I'm very pleased that we as a theatre offer that for the deaf community because some of them may have never been to a theatre before." This is where Susan's personal connection truly shines. Her lifelong experience with sign language and her understanding of the deaf community's needs have been instrumental in shaping the Royal Court's accessibility initiatives.
Just two years into her role, Susan played a key part in establishing signed performances as a regular feature. "It means so much to me that the theatre has started doing the signed performances," she shares. "I started [working at the theatre] about 10 years ago, and it was about eight years ago that the signed performances started, and at the time, it was just my grandma coming to the show. She started going to the deaf centre on Queens Drive and would say, 'Oh, I went to see such a show at the Royal Court; it was really good!'"
Her grandma's enthusiasm proved contagious. After she spread the word among her friends at the deaf center, the Royal Court quickly became a popular destination. "They then got in touch with me and said, 'We'd like to make a large group booking for the Christmas show.' That was happening that year, and from then on, it's just multiplied!"
Even after her grandmother's passing, the signed performances continue to thrive. "Every single show we have that there's a signed performance, we get at least 20 to 25 deaf people and interpreters and their family or friends all come to the show," Susan explains. "On a personal level, it's nice to see, and even though my grandma has passed away, the club are still attending the shows, and they're still very thankful for the theatre and myself because it's me that coordinates with them on behalf of the theatre."
"It means so much to me to keep it going because it's something that she would want me to continue, and I feel very proud to be able to do that and to keep her memory alive, not only for myself and within the deaf community but also to keep her memory alive within the theatre as well. It was a theatre that she really loved coming to." Susan's dedication is a testament to the power of personal connection and the importance of creating inclusive spaces for all.
But here's where it gets controversial... Some might argue that focusing on specific accessibility initiatives for one community could inadvertently exclude others. Is it possible to create truly universal accessibility, or will there always be a need for tailored approaches? What do you think? Should theatres prioritize broad accessibility measures, or is it more effective to focus on specific needs within the community? Share your thoughts in the comments below!
