Interview: Jenny Sealey – Self-Raising

In this exclusive interview, theQR talks with Jenny Sealey MBE, deaf pioneer in theatre and artistic accessibility. Since becoming Artistic Director of Graeae in 1997, she has been instrumental in redefining the theatrical landscape through innovative approaches such as bilingual British Sign Language (BSL) and English, pre-recorded BSL, creative captioning, and in-ear/live audio description methods. Co-director of the London 2012 Paralympic Opening Ceremony, and winner of the Liberty Human Rights Arts Award, she will take the stage herself in Edinburgh this August, her first acting role in over 3 decades. She was kind enough to talk with theQR about her show, ‘Self-Raising’ and why now was the right time to tread the boards once again…

Hello Jenny! Can you begin by telling me about your show?

The show is called Self-Raising, originally linked to the book Flour Babies by Anne Fine. It explores relationships, responsibility, and family. As I developed it, my own story as a mother and daughter became more prominent. Being the only deaf person in a hearing family, I had to raise myself and navigate my own journey. 

My story is also connected to a secret I discovered five years ago, which has had a profound impact on me. Holding a secret, even if it’s not toxic, affects behaviour and family dynamics. It’s a multi-layered exploration. Does that make sense?

Yes, it does. Could you tell me more about the themes you develop in the show?

The show delves into family dynamics, secrets, awakening, and dancing. It’s a fusion of different elements packed into an hour-long performance.

Why do you think this year is a good time to bring this show to the Fringe?

The Fringe provides a platform for diverse stories and perspectives, and this year, there’s a growing openness and interest in narratives that explore personal journeys, People are seeking connections and understanding, and our show can resonate with a wide range of audiences. We have also made sure to incorporate accessibility features like audio description, sign language and captions, making it inclusive and accessible to everyone. So, the Fringe is the perfect place to share this deeply personal and thought-provoking piece.

It’s interesting to hear about your decision to step on stage and out from the director’s chair for this production. Can you tell me more about why now feels like the right time for you to perform?

I don’t know if there’s ever a perfect time for me to be on stage, but this play has been in the making for about four or five years. I felt that I couldn’t give this role to another actor. There is a deaf actor named Emily Howlet who reminds me of a younger version of myself, but I wanted to see what I could do with it. I reached out to Mark Godfrey at Soho Theatre, who has been a great supporter of Graeae, and it all started from there. It snowballed, and now we’re here, ready to perform. It’s been around 31 years since I last performed with Red Ladder but I have just remembered the last time I took on a role was when I stepped in for one our actors David Toole – who’s no longer with us. He fell ill during our production of the House of Usher. It was a challenge, but I embraced it. The other two actors looked at me when I arrived and said, ‘who’s taking over David?’

I said, “Well, I am” At that they pointed out I had got legs, Dave had no legs, I was a woman and deaf. “How’s that going to work?” they asked, to which I replied I had no idea but I’d just done the four train journey learning my lines so I was going on! That was in, or around, 2000. This feels like the right time to return to the stage with Graeae.

And how are you feeling about that right now?

I would say I’m both horrified and excited. I am trying to learn my lines, and with everything being captioned, it will be quite obvious when I miss a line.

So there’s a level of accuracy that I need to maintain, just like I expect from my own actors.

It’s like having a taste of my own medicine in terms of the discipline I demand from my team.

When we were initially planning the show, it was going to be an adaptation of “Flour Babies,by Anne Fine for a young audience and ” I was going to work with director Lee Lyford. The focus has shifted to a play for adults, but it still right that Lee directs We also have a talented assistant director, Daryl, who is working alongside Lee. It’s nice to have someone else take on the responsibility of directing and telling me what to do. It allows me to focus on my own performance.

Not having to organise everything for yourself maybe let’s you focus your own performing mind more?

I’m learning to step back and let them take charge, allowing me time to focus on learning my lines. I’m feeling quite anxious about memorizing them, especially since I’m a woman of a certain age, and my memory isn’t as sharp as it used to be.

None of us are young anymore.

Yes, that’s true. And at this stage in my life, as I approach 60 and having been with Graeae for 26 years, I feel like it’s come full circle as my first acting job was with Graeae.

Absolutely. Now, when considering the Edinburgh audience, who would you like to see attending the theatre?

I believe the show is suitable for anyone aged 14 and above. It explores themes of childhood, adulthood, relationships with parents and grandparents, and the presence of secrets and lies within families. It encompasses a broad range of experiences, and I think each age group will take something different from it.

The older generation might relate to it and say, “Yes, I’ve been through something similar.” The younger ones might be shocked to learn that certain thoughts were prevalent in the past, but they might also recognize that some things haven’t changed. So, each individual will have their own perspective based on their age, creating layers of meaning.

I hope deaf people will see it because it’s, you know, the narrative about being deaf is something that I will share with all my deaf colleagues and my deaf friends.

Rose Ayling-Ellis has put the Deaf agenda out there. She’s extraordinary, doing so much to get the message out that deaf people are alright, and we’re not victims!

We’re happy with who we are. If you just let us be, we’re fine. So, I hope my deaf comrades will come.

Has creating the show sparked conversations in your personal life with colleagues, longstanding friends, or family? Has it influenced the topics you discuss with others?

The show is about the various conversations I’ve had with different family members over time. It also prominently features my son. Jonah was initially going to be on stage with me, but he works full-time for Novara Media, so he couldn’t take much time off work. However, it’s very much his story. He is involved by providing captions and narrating the audio description of the pictures. So, he’s there with me in spirit. It encompasses conversations with him, my siblings, and older family members.

When I was given the opportunity by The Egg in Bath to have a week of research and development on my own, I felt unsure about doing it alone. Fortunately, one of my closest allies and colleagues, Mike Kenny, who has written many plays for Graeae, happened to be available. I asked him to come with me and ask me questions, to open my mind and stimulate my thinking. So, I spent a week with him and my sign language interpreter, Jude, quizzing me, asking questions, and helping me work through it. At the end of that week, Mike said “My dear girl, would you like me to help frame this and get it onto the page?”

I was so relieved! I said, “I can’t do it on my own. I do need you!” He’s probably the only person apart from Jonah that I trust with my stuff. So it’s been lovely, a huge emotional roller-coaster, but I’m also lucky to have some support on my side and for others. There’s a wider team, including Dr. Susan O’Rourke who is a Clinical psychologist and BSL interpreter. We grew up together , but we lost contact over the years. It is brilliant reconnecting. She’s is my support because she knows my family and she knows me and is there also for the wider team.

That’s very important. Have you found that you’ve approached the show differently, specifically for the Edinburgh Fringe audience? In other words, are you considering the audience’s expectations for the Fringe when shaping the show?

I think the story itself is so universal. So, while the Fringe audience may be more discerning about structure and other aspects, it’s ultimately a story. I’m on stage with my own voice, simply saying, “This is what happened.”

All I ask is for them to listen and to reflect on their own family and experiences. One thing many of us regret is not asking enough questions when our loved ones pass, especially parents or grandparents. We think, “Why didn’t I ask that question? Why didn’t I ask more?” So I urge the audience to ask their own family members questions. It’s part of their history, part of their DNA, and it’s exciting to learn. Sometimes it’s too late when we discover things, and we think, “Damn.”

So very true! Talking about the nuts and bolts of the Fringe, have you been in touch with your venue? Do you know what to expect from the performance space?

Graeae’s production of The Solid Life of Sugar Water by Jack Thorne played at Queen’s Dome. As an audience member, I remember the space, but it will be a different experience being on that side. It’s a nice, rounded space that feels like someone’s front room, where we can have a chat. There’s an intimacy to it, which is lovely. And it’s accessible and on the ground level, so we don’t have to worry about broken lifts. It’s important to Graeae to ensure accessibility for anyone with mobility impairments.

And why was it important to you to come to Edinburgh?

As a director, there’s a thrill in bringing a production to Edinburgh. The audience there is unlike any other. It’s a mix of people—curious, cynical, hungry for the arts. It’s a challenging and testing ground for any performer, and it definitely brings nerves. I remember when we first brought “peeling”by Kaite O”Reilly to Edinburgh, we were nervous but also incredibly excited because it’s a world-renowned festival. Now, I find myself in that position, and I’m both terrified and really excited to hear what people think. Given that this is such a personal story, I have to be mindful of potential harsh critics, but I also need to separate the personal from the political. It’s such a famous event, although I do wish it weren’t so expensive and difficult for people to attend. Considering the financial challenges and complexities, this may be Graeae’s last opportunity to be there, so we’re going for it with this show.

It’s definitely good to do new things and push our own barriers.

In a somewhat ironic conversation with our Arts Council officer, I jokingly mentioned that if I were to have a massive failure in Edinburgh, I might have to step down as the Director of Graeae. He seemed surprised and asked if I was serious. Of course, I quickly realized it was best to keep my mouth shut.

When in doubt, say nothing to Arts bureaucrats! But it seems to me you’re more than excited to bring the show to the Fringe.

I enjoy a challenge. I’ve never been someone who’s afraid of taking on new challenges. That’s why I’ve stayed at Graeae for so many years. Every time I think I should leave, something comes along that I’ve never done before, and I think, “Oh my God, I don’t know how to do that. I need to learn.” Whether it’s a big outdoor piece or something like the 2012 project, the constantly changing political and economic landscape keeps me fascinated and curious. Even after 26 years, I’m still excited about what’s next and how we’re going to approach it. And I’ve come to realize that I, personally, am a part of what’s next.