“Is Theatre Therapy?”

“Is Theatre Therapy?”

A Reflection from Day Two of Devoted & Disgruntled

Improbable – What Shall We Do About Theatre?

I asked the question “Is Theatre Therapy?” during the second day of Devoted & Disgruntled. I posed this question for a number of reasons:

• I had missed a previous session that discussed improvisation and therapy—two subjects close to my heart.

• I’ve been a dedicated improviser for many years, and I continue to direct and perform.

• I’ve also experienced therapy personally, following a profound tragedy in my life.

• My creative practice and lived experience have long highlighted the intersections between theatre and therapeutic processes.

While directing One Flew Over the Cuckoo’s Nest—a play deeply concerned with mental illness, control, and societal norms—my cast and I frequently shared our personal experiences around mental health. This led to rich, vulnerable, and honest conversations in the rehearsal room, and I came away from that process more convinced than ever of theatre’s deep potential for healing, insight, and catharsis.

The Session

Only a small number of people joined the discussion—partly, I think, because the room we were in was physically separate from the main space, making spontaneous participation less likely. Still, throughout the session, there were four or five of us engaging in meaningful conversation.

One participant began by sharing an experience of art therapy during a community production at the Almeida Theatre in Islington. He had been a carer for his elderly mother, who had Alzheimer’s. Now older himself, he had developed symptoms of dementia and memory loss.

He described how, during the show, he struggled to memorise lines. In response, the director and cast came up with a simple but powerful solution: at a key moment, when he forgot a line, a microphone was theatrically held to his head—and the missing line played back as a recorded thought. This allowed him to stay in the moment and honoured his lived experience in the structure of the performance.

It was a beautiful, ingenious adaptation—and for him, therapeutic.

He also spoke about how most participants in that production brought personal stories into the final performance. This sparked a wider conversation on the healing potential of storytelling in theatre, especially when rooted in lived experience.

Themes That Emerged

Personal Storytelling as Healing

I shared experiences from sweat lodges, where the act of sharing stories in a circle—with the support of a talking stick—creates space for authenticity, listening, and transformation. One person’s story often triggers reflection and connection for others, weaving a web of empathy and understanding.

Collaborative Authorship

Another participant, Tayo, shared excerpts from a show developed with a group of women. A particularly powerful moment involved a monologue transcribed directly from one woman’s story and then performed by another group member.

I reflected on using this technique in my own work—where one performer shares another’s story. This simple device can open profound conversations and deepen empathy by literally stepping into someone else’s shoes.

The Role of the Venue and Audience Expectations

Meg, from the Roses Theatre in Tewkesbury, offered insight from her position running a venue in a rural area with a very specific demographic. She expressed a desire to move beyond the constant programming of tribute bands and to introduce more transformative, meaningful theatre that could genuinely shift perspectives and improve lives.

The Age of Imitation vs. Authentic Creation

We shared thoughts on the current cultural landscape. My view is that authenticity, lived experience, and truth-telling have never been more needed—especially in the face of increasing social fragmentation and mental health crises.

Conclusion & Next Steps

Although small, the session was deeply nourishing. We uncovered important questions:

• Can theatre be designed intentionally to support mental well-being?

• How do we hold space for therapeutic processes without overstepping into clinical territory?

• Can lived experience and storytelling be the heart of a new kind of participatory, community-led performance?

• How might this work be supported and valued in traditional arts institutions?

I also hope to connect Tayo with a project I’ve been involved in that supports migrants and refugees—a space where his storytelling skills and therapeutic framing could make a powerful impact.