For young people with cerebral palsy, it's rare to see characters similar to themselves in mainstream media. Whether in television, movies, books, games, or toys, people with disabilities are seldom represented. This lack of representation can lead to feelings of isolation and invisibility.
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03-20, 2025Even when characters who use wheelchairs began to appear, they were often played by able-bodied actors who treated disability as a "costume" and were praised for their physical, emotional, and psychological "transformations." In recent years, this phenomenon has been gradually changing, thanks to the tireless efforts of advocates, shifts in production values, and the promotion of platforms for disabled actors. These changes are helping to create more authentic and nuanced portrayals of disability.
However, one area that stubbornly resists this progress is theater. For example, it's incredible that in the 22 years that the musical "Wicked" has been performed on stages around the world, there has never been a disabled actor playing the role of Nessarose Thropp, even though she is consistently portrayed as a disabled character. But this year, two disabled actors are reshaping classic roles, challenging audience perceptions, and seizing the opportunity to balance the scales of representation. Their performances promise to be both groundbreaking and inspiring.
Liam Gamberle has joined the rehearsals for Sport for Jove's production of "The King's Players," in which he will play Richard III, Shakespeare's scheming anti-hero, determined to seize power. Gamberle said that when he heard about the role, he felt he "absolutely had to get it." "The day before the audition notice was released, I was lying in bed praying to God to give me an opportunity, because you know, as disabled actors, we don't get these opportunities easily." This underscores the importance of creating more opportunities for disabled actors in the performing arts.
Although the disabilities between Gamberle and the character of Richard III are different, there are striking similarities between them, and Gamberle is able to brilliantly exploit these similarities to get into villain mode. A near-ferocious smile spread across his previously gentle face, he stamped his feet and roared, every inch of his 180-centimeter frame displaying an awe-inspiring presence. Gamberle plays multiple roles in the play, as Richard III does not appear until the last eight scenes of the play. This means that the characters he plays are not necessarily considered disabled, but in this production, they become disabled simply because the actor playing them is disabled. This reflects a trend that disability does not necessarily have to be the focus of the narrative, a trend that Gamberle and I hope to see continue. This approach allows for a more integrated and natural representation of disability.
Bridie McKim shares the same hope, and she will play the legendary role of Laura Wingfield (whose character is based on his sister) in Tennessee Williams' semi-autobiographical play "The Glass Menagerie." The play has been a mainstay on the theatrical stage since the 1940s. Laura is described as having some ambiguous physical disability, and historically she has been interpreted and performed as a meek, fragile character lacking autonomy and vitality. McKim's portrayal promises to challenge these traditional interpretations.
McKim remembers seeing a performance of the play when she was 15, which deeply troubled her. "I remember I was in tears and very upset because she was played as someone who had no agency and no courage... she was kind of timid. While I know everyone is different, that's not my experience of disability." This personal connection fuels her desire to bring a fresh perspective to the role.
For my part, neither is it, although sometimes I feel my autonomy is taken away, or I worry about taking up space in the world. That's why I perform – so that I can control the story and be something I've never seen before. For example: when I quietly suggested to McKim that her portrayal of Laura might inspire and empower a 15-year-old girl in the audience, we were both a little emotional. This highlights the transformative power of representation and its ability to impact individuals on a personal level.
She is determined to play Laura in a way that is more vibrant and confident than the version she first encountered, becoming a woman who can resonate with audiences in 2025. Progress has been made in terms of disability representation, but there is still a long way to go. A 2023 study by Screen Australia showed that while disability representation in Australian television and online drama has increased – from 3.6% in 2016 to 6.6% – it remains "extremely low." As McKim says: "We make up 20% of the population. Let us take up 20% of the jobs." This call for greater inclusion emphasizes the need for systemic change within the industry.
"The Glass Menagerie" will be performed at the Ensemble Theatre in Sydney from March 21 to April 26. "The King's Players" will be performed at the Seymour Centre in Sydney from March 26 to April 5. These productions offer a valuable opportunity to witness the talent and perspectives of disabled actors firsthand.
