The introduction of BSL, inclusive pricing and disability provisions are making theatre more accessible, but more can be done.
Glasgow is the home to many theatre venues including The King’s, Theatre Royal and Pavillion and over the years these theatres have brought performances including well known musicals, plays, comedians and pantomimes to the city. From Mama Mia! and Hamilton to comedians including Chris Ramsey, and Christmas pantomimes like Jock and the Beanstalk. Glasgow theatres attract audiences of all ages and backgrounds and bring communities together through entertainment. While these venues host large audiences, an important question is presented. What steps are taken within theatres in Glasgow and across the UK to ensure accessibility for all individuals?
For many, theatre is a place where individuals come together and share experience through stories told on the stage, it is where emotions are experienced and ideas are explored. However for many audience members, accessing theatre is more difficult than others. According to The Stage, “almost a third of disabled audiences find it difficult to access theatre”. Disabled audiences face barriers that have prevented them from fully experiencing performances live on stage.
Theatre has become increasingly accessible to deaf and hard of hearing audiences in recent years as there has been an introduction of British Sign Language (BSL) interpreted and captioned performances. During these shows, spoken dialogue is translated into BSL live on stage or displayed as captions. This allows audiences to engage more fully with performances. Venues such as the King’s Theatre offer BSL interpreted performances on selected dates which can be seen on Access Scottish Theatre. However, these performances are often limited to only a couple of nights per show, making access still dependent on availability limiting inclusivity. For those who rely on these services, the lack of flexibility highlights how it is treated as optional rather than essential.
Many of Glasgow’s theatres have accessible entrances, wheelchair seating, lifts and accessible toilets. Theatre Royal offers eight wheelchair positions with lift access (Bell, 2026). This demonstrates progress, however, access is not consistent across venues and in older buildings, movement can be restricted and wheelchair seating is often limited to specific areas which reduces customer choice. In most cases, wheelchair users must also book far in advance due to the small number of accessible seats available. For example, the Barrowland venue ”offers just 3 wheelchair seats per 1,000 capacity”. Limited accessible seating reinforces the idea that disabled audiences need to plan ahead more to go to the theatre, presenting a clear restriction in the industry.
Additionally, financial barriers should be considered when it comes to accessibility in theatre. Tickets are often expensive and for audiences who require a companion the cost can be doubled. Many venues offer discounted companion tickets, however, bookings require extra steps such as proof of eligibility (ATG Tickets, 2026). Financial complications can discourage those who require a companion to attend theatre combined with limited accessible performance dates meaning access is restricted. The Citizens Theatre, Glasgow offers an access pass to those with additional needs and gives 50% off tickets as well as a free companion ticket, showing steps are being made to make theatre more accessible in Glasgow.
It is clear that theatre is becoming more accessible in Glasgow and around the UK. BSL interpreted and captioned performances, wheelchair access and financial aid for disabled audiences show growing awareness around accessibility in theatre. If theatre truly brings individuals together, accessibility must be considered in all aspects of the experience, from communication to physical access. If progress continues to be made, stages in Glasgow and across the UK will become accessible to all.
Image Credit: Curve
