Piloting Accessibility at The Naparima Bowl

Before Alpha made its international debut at the Toronto Fringe Festival, we had the opportunity to pilot our accessibility features locally at The Naparima Bowl in Trinidad. These performances in April 2025 served as an important testing ground for many of the access tools we would later refine for the international stage.

We introduced colour-coded open captions for all dialogue and key audio cues, along with a pre-show accessibility briefing video to orient audience members to the inclusive features available. A visual character guide was also piloted to support comprehension, particularly for neurodivergent, visually impaired and d/Deaf or hard-of-hearing audience members.

The experience gave us vital insights into how accessibility features function in real time and how audiences responded to them. It allowed our team to adjust caption placement, refine character color-coding, and improve media clarity, ensuring that our Toronto audiences would receive a seamless and thoughtful accessible theatre experience.

This pilot marked a meaningful moment in local theatre, showing how accessibility can be integrated into performance in ways that support inclusion, storytelling, and audience engagement for all.

Designing Access for the Stage

As Accessibility Coordinator, my work included:

• Creating an Accessibility Guide for audiences with information on sensory elements, content warnings, seating options, and access tools. This helps audience members plan ahead by outlining what to expect, highlights supports such as open captions, sensory advisories, visual character guides, and preferential seating, describe potential triggers or barriers (e.g. loud sounds, flashing lights) and promote inclusion by making the experience welcoming for individuals with a range of access needs. Ultimately, an access guide ensures that all audience members, regardless of their access needs, can engage with the performance as fully, comfortably, and independently as possible.

• Developing Open Captions (always visible on-screen), color-coded by character, to support d/Deaf and hard-of-hearing viewers and individuals with diverse language or auditory processing needs.

• Producing a Pre-Show Accessibility Briefing, introducing the access features in an engaging, easy-to-understand video.

• Creating a Visual Character Guide to help audience members connect with performers and follow role changes. This is particularly beneficial for audience members who have have low vision or cognitive differences, helping them quickly understand who is who and follow character transitions throughout the performance. It’s designed to provide context, reduce confusion, and support a more accessible and inclusive theatre experience for all. 

• Liaising with the Toronto Fringe Festival’s accessibility team, both virtually and in person, to ensure our access measures aligned with festival standards and reflected best practices for inclusive performance.

The Impact

Bringing Alpha to the Toronto Fringe Festival was more than a performance, it was an opportunity to model inclusive storytelling. Audience members shared that the access tools enhanced their engagement and understanding, regardless of ability.

For many, especially those unfamiliar with Caribbean culture, Creole language, or neurodivergent communication styles, these tools made the difference between confusion and connection. And for d/Deaf patrons, those with low vision, processing challenges, sensory needs and others with diverse access needs, they signaled that their presence mattered.

The open captions, in particular, helped bridge language and cultural barriers, allowing international audience members to access the play despite challenges posed by culturally specific jargon, the fast pace of the dialogue, and the intonation of our Trinidadian dialect.

As the performances progressed, theatre management informed me that some patrons had come specifically to benefit from the captions. This allowed me to connect with them directly before and after performances, offer advice about preferential seating and access, and have meaningful conversations about their experiences.

This project demonstrated how thoughtful, inclusive design can transform performance spaces into welcoming environments that reflect and respect the diversity of our communities.

Behind the Scenes: Bumps, Challenges, and Breakthroughs

No meaningful project comes without its hurdles, and bringing accessibility to the stage was no exception.

We faced a range of challenges, from aligning our setup with festival requirements and theatre protocols, many of which were unfamiliar or vastly different from our norms. At one point, when confronted with the logistical realities, the suggestion was made to scale back (to offer accessibility for just one or two performances) or drop it altogether. But I couldn’t stomach that. We had committed to delivering accessibility for each and every one of our seven shows, and I was determined that we would honour that promise. I’m especially grateful to our director, Jeanelle Archer-Chan, for agreeing that the production would cover the additional costs from our box-office proceeds, allowing us to stay true to our word. 

Implementing open captions meant every single word mattered; something our young actors had to quickly adjust to. With captions visible on screen, any missed or improvised lines were instantly noticeable to the entire audience, adding an unexpected but valuable layer of discipline and accountability to each performance.  This meant that line rehearsals became essential during our time in Toronto; and eventually, I came to know every pause and beat of their dialogue right alongside them. I’m incredibly grateful to the cast of teenagers for taking this responsibility seriously. They rose to the challenge, committed to aligning their lines with the captions, and checked in with me after every show to review miscues and celebrate finally nailing the more stubborn bits of dialogue. 

Then came the logistics. Back home in Trinidad, piloting accessibility at the Naparima Bowl was fairly straightforward: showing up with a flash drive and a laptop, with the theatre already equipped to meet the rest of our technical needs. But navigating the fast-paced festival scene in Toronto was an entirely different ballgame.  I quite literally carried our entire accessibility station on my back: projector, multiple stands, screen, clamps, clips and tape, extension cords, backup power sources, HDMI cables, surge protectors, and laptops. It was DIY accessibility in the truest sense, and we were determined to make it work. Everything traveled with us from Trinidad to Toronto. Inside the venue, we had to adapt quickly to tight space, health and safety protocols, limited infrastructure, and tricky sightlines. And with only 15 minutes to set up and tear down before and after each show, every second counted. 

And yet, through the sweat, stress, tears and endless problem-solving, something beautiful happened: it worked. The accessibility setup supported engagement, understanding, and connection. Audiences followed the story. They felt included. The effort was worth every moment.

These challenges reminded us that accessibility isn’t always easy, but it’s always essential. And with each hurdle we cleared, we helped pave the way for more inclusive storytelling and richer audience experiences for the next generation of creators.

Review Spotlight: Accessibility in Action

In this video, an audience member reflects on the accessibility features used in Alpha, calling the approach “cutting edge.” They highlight how elements like color-coded captions and cultural annotations helped clarify the story’s nuances and made the emotional moments even more impactful. Their feedback is a powerful reminder that accessibility isn’t just about accommodation, it’s about enhancing connection, deepening understanding, and making storytelling more meaningful for everyone. 

Accessibility Beyond the Classroom

This experience reminded me that accessibility is not limited to education, therapy rooms, or clinics. It belongs in creative spaces, community events, public performances, and beyond. My work in special education has always been about helping people feel seen, heard, and included. This was just a new stage...literally.

I hope to continue expanding my role as an Accessibility & Inclusion Consultant, working with organizations, creatives, and educators to build systems where everyone can belong and participate meaningfully.

If you’re looking for support on your own accessibility journey, whether it’s for a school, event, or production, I’d love to work with you. Let’s design for inclusion, not as an afterthought.