Kaite O'Reilly
Kaite O'Reilly is UK-based playwright, author and dramaturge of Irish descent. She has won multiple awards for her work, including the Ted Hughes Award (2011) for her version of Aeschylus' tragedy "The Persians." O'Reilly's plays have been performed at venues across the UK and at the Edinburgh Festival. Her work has also been shown internationally including in Europe Australia, Korea, Hong Kong and Taiwan. O'Reilly openly identifies as a disabled artist and has spoken of the importance of "identifying socially and politically as disabled" to her work. Personal life. O'Reilly was brought up in Birmingham, UK , by her parents who were Irish migrants. When she was growing up, her father was a butcher and market trader. She has described her working-class Irish heritage as "formative" in her career as a playwright. She currently lives in Llanarth, Wales. Kaite is sister of television presenter Miriam O'Reilly. Kaite has a visual impairment and a degenerative spinal condition. However, following the social model of disability she feels disabled by attitudes, not her impairments: "I am a woman with a sensory and physical impairment, but it is society's attitudinal and physical barriers which is disabling, not the idiosyncrasies  of my body". Career. Early career (up to 2002). O'Reilly's first job in theatre was as a performer for Graeae Theatre Company in 1986. In 1994, a piece of her writing appeared in "Mustn't Grumble: An Anthology of Writing by Disabled Women" (Women's Press). Her first major breakthrough came in 1998 for her play "Yard" produced for Bush Theatre, London. The play, which addresses themes of conflict, was drafted whilst O'Reilly was working as a relief aid worker in former Yugoslavia. It received critical acclaim, "The Independent" said the script had "scathing eloquence", whilst "The DailyTelegraph" said  O'Reilly is clearly a writer with promise. She has an ear for lyrical dialogue, a strong sense of setting, and a vital humour.” The play was the joint winner of the Peggy Ramsay Award. The following year, Yard" was remounted with a German translation, entitled "Schlachthaus" that played at Maxim Gorki Theater, Berlin, where it remained in repertoire for nearly two years. In 2000 O'Reilly's "Belonging" played at Birmingham Repertory Theatre, with "The Guardian's" Lyn Gardner describing it as "a little play but a really lovely one," awarding it three stars. Increasing mainstream exposure: from "Peeling" to "The  Almond and the Seahorse ("2002-2008). O'Reilly's 2002 play "Peeling" produced with Graeae Theatre Company would prove to be a watershed moment for O'Reilly with it winning plaudits for being "groundbreaking" ("The Scotsman)". It had two national production runs, and the play text was published by Faber and Faber. Whilst previous works had garnered a positive critical response "Peeling" was lavished with praise from several major press outlets. "The Guardian" drew comparisons to Samuel Beckett and called it "a major piece of theatre," awarding it 4 stars. Joyce Macmillan in "The Scotsman" labelled it a "minor feminist masterpiece" whilst  The Herald called it "one of the most entertaining and provocative shows around this year". Benedict Nightingale in "The Times" awarded it 4 stars calling it "a remarkably elaborate, imaginative and hard-hitting piece," whilst "The Daily Telegraph" described it as "a droll, self-deconstructing piece of theatre that is far too clever to be pigeonholed." Reviews praised the piece for its feminist sensibilities and disability politics, with its three characters played by disabled actresses, it highlighted how marginalised disabled people are by society at large. The play was adapted for radio and aired on Radio 3 in October 2003 . Following "Peeling"'s first production in 2002, O'Reilly's "Speaking Stones" appeared at Theater ASOU in Austria. In April 2004 O'Reilly's play "Perfect" was shown at Contact Theatre. It won the Manchester Evening News Theatre Award (2004) for Best Play and Best Design. Later that year, "Henhouse" was produced with Arcola Theatre. Like "Yard", it was influenced by O'Reilly's time in war-torn Yugoslavia, and covers the topic of civil war. In the same month, O'Reilly's radio-play "Ambushed by Time", which follows the lives of two couples whose lives have been affected by damaged memory functions , aired on Radio 4's 'The Friday Play'. Between 2006 and 2007 O'Reilly had three more radio-plays aired on the BBC; "Bora Bistrah" (2007) and "Walkie Talkies" (2007) aired on Radio 3, whilst "Rean's Girls" (2006) aired on Radio 4. O'Reilly's next major staged production came in 2008, in the form of "The Almond and the Seahorse" originally shown at Sherman Theatre before going on a national tour. The play explores the impact of major brain trauma, from a disability perspective. O'Reilly said she sought to challenge the "usual representations of people who survive brain injury as  tragic or as victims". It was well received by the disability-specific press with Disability Arts Online calling it a "brilliant play" that "brings Disability Arts into the mainstream". Other press picked up on this too, Allison Vale in "British Theatre Press" observed: "O' Reilly passionately believes in the need to stage issues of disability in mainstream theatre. But this play goes far beyond simply providing a platform for the playwright's political agenda: this is a powerful drama, beautifully written, which says as much about the universal themes of life, love, death and devotion as it does about disability ." Mainstream newspapers also raved about the production, with "The Guardian" giving it 5 stars and describing it as an "unmissable drama," whilst "The Stage" said: "The contrasts of mood and pace in the confrontations are beautifully handled, the sensitive ensemble work is quite superb". Work on Unlimited Festivals and more international exposure: (2008-present). 2010's "Told by the Wind" which was a collaboration with Phillip Zarrilli and Jo Shapland marked a decidedly experimental turn, where O'Reilly could flex her dramturgical muscles. The show has no dialogue and incorporates elements of dance and post-dramatic aesthetics of East Asia, giving  the piece a "meditative" quality. In the same year National Theatre Wales commissioned O'Reilly's site-specific version of Aeschylus' war tragedy "The Persians". The play was staged in a mock-up village on Ministry of Defence land in rural Wales, where troops train. As well as receiving glowing reviews (5 stars in "The Daily Telegraph" and 4 stars in "The Guardian" and "The Times") it also earned O'Reilly the 2011 Ted Hughes Award for poetry. "In Water I'm Weightless" was an Unlimited commission as part of the 2012 Cultural Olympiad and featured a cast of six deaf and  disabled actors. The piece is experimental in form, with "no plot, narrative or characterisation to speak of" ("The Guardian") incorporating access elements into the aesthetic such as sign language. Through "cut and paste" monologues, the play directly confronts steroetypes and barriers placed on disabled people, often inverting these; at one point a whole speech is delivered solely in British Sign Language so the majority of the audience won't be able to understand it. It was well received, getting 4 stars in "The Guardian" and The Arts Desk with the latter describing it as "almost worthy of Shakespaere". 2014 saw  O'Reilly again working with long-time collaborator Phillip Zarrilli on a 'performance text' dedicated to Frida Kahlo, "The 9 Fridas" which was translated into Mandarin and performed by Mobius Strip Theatre at the Taipei International Arts Festival, Taiwan. The show is currently being remounted and will be shown again later in 2016 in Hong Kong. In the same year O'Reilly wrote "Woman of Flowers", a retelling of an ancient Welsh myth from the "Mabinogion." Disability Arts Online said the script "sparkles with [O'Reilly's] trademark wit and use of evocative language," they also praised the use of integrated access including  sign language and surtitles. "The Stage" were less effusive, awarding it 3 stars: "captivating as this often is, the mythic elements of the play don't always sit easy with the harder, nastier things at the core of this story." "Cosy" was O'Reilly's second Unlimited commission which premiered at Wales Millennium Centre in March 2016. The play addresses issues of ageing and end-of-life scenarios, encompassing an integrated cast spanning 3 generations of women in a fictional family. Disability Arts Online concluded: "It’s a play that you carry with you; it’s poignance and linguistic beauty and  it’s clever, irreverent and oddly (considering the subject matter) life-affirming message." "Cosy" along with 4 of O'Reilly's other performance texts appeared in "Atypical Plays for Atypical Actors", which was published later that year by Oberon Press. Political activism. Throughout both her life and career, O'Reilly has been an outspoken advocate of rights for disabled people. In 1987, O'Reilly lay down in front of a bus at a demo calling for equal access for disabled people to public transport. She told the British Council in a recent video interview "[in the 1980s] I was very involved in the  disability civil rights movement, campaigning for equal access to public buildings, education and opportunities...I am incredibly disappointed at how little has changed." O'Reilly has also been vocally critical of the casting of non-disabled actors in disabled roles ('cripping up') and told Gender Forum (an internet-based academic journal) in 2005 that "cripping up is the twenty-first century's answer to blacking up". It is a position she has reasserted on numerous platforms, along with her 'policy' to "put crips in our scripts". As well as speaking out on disability-related issues O'Reilly has also called for greater  representation of diversity in theatre and the media, in a 2016 interview, she told "The Stage:" "Theatre is the site where we gather collectively to explore what it is to be human. We have to have the breadth, depth and diversity of experience, rather than a monoculture or just a segment of society talking to itself."