In the wake of last week’s UK Musical Theatre Conference 2026 at Soho Theatre Walthamstow, conversations around accessibility and inclusion in theatre continue to resonate across the industry, particularly the call to move beyond access as an add-on and instead embed it at the very core of the creative process.
Central to this conversation is the work of writer and librettist Nicola Werenowska, whose practice consistently places accessibility at the heart of storytelling. Her collaborations with Jenny Sealey MBE, Artistic Director of Graeae Theatre Company, were highlighted during the conference as leading examples of how inclusive practice can actively shape creative outcomes.
Reflecting on their process, Sealey challenged a common assumption: “Music itself is access for blind people… but what we’re doing on the stage isn’t. We need to think about that.” In response, Werenowska’s approach embeds access directly into the writing itself. Rather than treating accessibility as an additional layer, it becomes integral to the structure, language and dramaturgy of the work.
In one production, elements of access were written into the libretto from the outset, ensuring that visual storytelling was translated into a rich, layered vocal and sonic world. The development of characters such as “the gossips,” who voiced and shaped the unfolding action, emerged as a creative solution that bridged narrative, sound and accessibility, demonstrating how inclusive thinking can expand, rather than limit, theatrical form.
This approach, iterative, collaborative, and at times challenging, highlights a crucial shift in practice. As Sealey noted, the process involved “trials and errors” and creative tension, but those moments of resistance ultimately fuelled innovation rather than compromise. Accessibility, in this context, becomes a generative force, part of the creativity itself.
Werenowska’s work exemplifies this ethos. Her libretto for THE PARADIS FILES with Graeae Theatre Company, and her writing for ALICE IN WONDERLAND at Derby Theatre, dramaturged by Sealey, both foreground integrated access. These productions incorporated British Sign Language (BSL), creative captioning and audio description as intrinsic elements of the performance, expanding how audiences engage with narrative and form.
Their ongoing collaboration, including a forthcoming drama for BBC Radio 4, continues to build on this shared commitment to inclusive storytelling that reaches audiences in multiple, meaningful ways.
Beyond these high-profile projects, Werenowska’s impact extends into artist development. As Associate Artist at Mercury Theatre Colchester, she leads a group for disabled and neurodivergent writers, supporting the development of new voices and perspectives. This group will present work this July at CRIPS WITH CHIPS, a platform championing disabled artists and bold, unapologetic storytelling.
What emerged from the conference discussion is a clear and urgent message: true accessibility in theatre is not a technical exercise, but a creative one. Through artists like Werenowska, it is increasingly being recognised as a vital and expansive force within contemporary performance-making.
As the sector continues to evolve, this work is not just advocating for change, it is actively redefining what inclusive theatre can look and sound like.