When you let go of what you are, you become what you might be." So ends Kaleidoscope Theatre Company's performance, Tang of the Sea, a mime about a Chinese boy who surmounts the obstacles of fire and flood to find the mystical pearl on behalf of humankind. In fact, these lines sum up equally well the philosophy behind Kaleidoscope, an internationally acclaimed integrated and touring theatre company involving people from all walks of life, most of whom have Down's Syndrome.
Kaleidoscope is the brainchild of Carolyne and John Revell, both former special needs teachers, who, 13 years ago, frustrated by the lack of cultural opportunities for youngsters with disabilities, began running Saturday morning drama workshops in an attempt to fill the gap.
"We wanted to give these young people a chance to do something creative, not just offer them an endless round of passive entertainment in the form of discos, parties and excursions," explains Carolyne. Demand was such that the initial 17 children soon swelled to a troupe of 35; but it was not until 1986, following a triumphant appearance in the 1985 Edinburgh Festival, that John and Carolyne together with friends Wendy and Andrew Bryant took the momentous step of turning Kaleidoscope into a full-time, self-financing venture.
John and Carolyne already owned a rambling five-bedroomed Victorian house in the West Midlands which they agreed could serve as temporary base. Andrew and Wendy would give up their home (which went with Andrew's job as a clergyman) and move in along with the four most promising players in the company. Although the young people were to be treated as family, the arrangement was formalised by giving them three-year contracts, rather like enrolling for a three-year college course. As both the Revells and the Bryants were already committed vegetarians, there was never any question that the company would not be run on vegetarian lines. "If the idea behind Kaleidoscope is that life - all life - is important and worthwhile, then you cannot logically draw a line, be it at food, the source of financial backing or stage make-up," explains Andrew.
The parents of the young people involved, none of whom were initially vegetarian, expressed all the usual misgivings and misconceptions of non-vegetarians about the company's catering arrangements but were gradually won over, in the early stages by a series of dinner parties at the house, and ultimately by the metamorphosis of their previously plump and frequently unhealthy offspring into slim, clear-skinned, and fit young people.
The transformation came about purely as a side-effect of following a healthy vegetarian diet. Down's children are often seriously overweight, not as a result of their condition, believes Andrew, but because with disabled people there is a tendency for food to be used as a compensatory measure for other areas where they may miss out. By enabling them to participate in something valuable and worthwhile the need to use food as a reward is eliminated. Another common problem with Down's people is a predisposition to colds, coughs, weak chests and ear infections. Kaleidoscope have managed to virtually eradicate these problems simply by avoiding cows' milk. They have since discovered that this is common practice in the US.
The beneficial side-effects are not confined to health alone. It became apparent from the very early days of Kaleidoscope that Down's have a natural inclination towards, and talent for drama. Ridding them of excess weight enhanced their natural grace and rhythm, as well as going a long way towards the process of integrating them fully into society. By helping them achieve their physical potential, the Down's stereotype is automatically broken.
In addition to workshops, seasonal pieces, small-scale cameo work for specific occasions, events or organisations, the company works on one major touring production each year. This visits four major UK venues including The Swan at Stratford-upon-Avon and the Edinburgh Festival; in recent years Kaleidoscope have also been invited to join the international touring circuit, on dramatic merit rather than because of the nature of their work.
The company concede that it isn't always easy being veggie on the road, though some venues are easier than others. In this country they tend to cater for themselves, abroad this isn't always an option. The Eastern European emphasis on meat proved hellish in Hungary, and in Japan they were offered salad consisting of lettuce, tomato and cucumber three times a day for a week. Andrew recalls: "The poor waiter couldn't understand when we stood and cheered when baked potatoes arrived on day eight, but the advantages still far outweigh any inconvenience."
The current major production, Love Lies Bleeding, ends its run in April. Like all Kaleidoscope's productions, it began with just the theme - in this instance the Arthurian Grail legend - and was developed by the group. It has received rave reviews throughout its run, like the following from Andrew St George, Financial Times theatre critic: "Here, an integrated company produces fresh, exciting work; and reminds us that the perceived handicaps of people with learning difficulties often turn out to be in their environment, or in others' attitudes."
The next major production is scheduled to be premiered in February 1994 - later than Kaleidoscope would like, but the remainder of this year must be devoted to fundraising if they are to expand. With five full-time residential members and about 30 part-timers, no proper theatre or rehearsal space, they have outgrown the house in Walsall. They now need a set up that will enable them to take on more young people full-time, as well as host workshops, stage their own production, build sets indoors rather than in the garden (where the spectacular Love Lies Bleeding set started life) and grow their own vegetables. This will cost in the region of one million pounds - a hefty sum to raise. However, they are optimistic that despite the recession, like-minded individuals and organisations will help them realise this goal.
"We don't get on a soapbox about our beliefs, we just try to prove by the example of the quality of our lives that what we are doing is worthwhile," says Andrew Bryant. That they are succeeding is shown by the not atypical response of 16-year-old volunteer Adam Mountford who wrote to Kaleidoscope:
"I realised that we should not be frightened of disabled people and that we should not feel sorry for them. I was shown that they do not want our sympathy - they want recognition; they do not want tears - they want applause. It is up to us all to stand up and applaud."
Let's hear it for Kaleidoscope!
Kaleidoscope is always pleased to hear from any young people with learning difficulties who are interested in joining the theatre company either as a part-time cast member or as a full-time, residential cast member. Part-time members must be at least nine; full-time members at least 16.
