Stirring and engrossing, Jenny Sealey’s one-woman show tells the turbulent tale of her life as a Deaf child in a hearing family
Self-Raising, Jenny Sealey’s one-woman show, tells the story of Sealey’s experience growing up Deaf in a hearing family, and her discovery of a secret withheld from herself and her siblings that, upon learning, changed the course of not only this very show, but her life altogether.
Self-Raising was co-produced by Graeae, a theatre company dedicated to creating theatre with a focus on Deaf, disabled, and neurodivergent artists. Sealey acts as Graeae’s artistic director. The spirit of Graeae’s mission is evident in Self-Raising, the first show I have come across wherein accessibility is not an afterthought, a quick addition at the end of the writing process. Accessibility is integrated into the work itself. The work is crafted in such a way that every audience member and every performer can truly engage with the work with as few barriers as possible.
Walking into Soho Theatre’s main house, the stage is arranged with a simple set of three countertops, a sink, and a projector screen with a thin washing line strung underneath. The show is yet to begin, but already there is a sense of unpretentious comfort, something often lacking in the theatre. Jenny and her interpreter (or terp) quietly walk onstage, greeting the audience as they go. Their entrance is unannounced, without even a dimming of the house lights. After a minute, the audience realizes that the performers have arrived, and quickly hushes. Jenny waves the hush away, encouraging everyone to continue their conversation for a little while. The show begins unexpectedly and gently. Some light audience participation further draws viewers in without expecting too much.
This highlights the overall energy of the play. Jenny tells her story with earnest honesty. Many one-person shows that tell the tale of a performer’s life take on the quality of a melancholic memoir. Jenny expertly dodges this pitfall with masterful dexterity. Self-Raising works to shed secrets as an act of liberation. Though the content matter is deeply personal and oft heart-breaking, Sealey’s contagious humour brings much appreciated lightness to the production. Sealey’s remarkable performance created a sense of comfort throughout the audience that allowed the show to feel akin to an intimate conversation with a long-time friend. Riddled with exciting anecdotes, nostalgic humour, pictures, and gut-wrenching truths, Self-Raising was honest in every way it could be. The phrase, ‘you will laugh, and you will cry’ is frequently attributed to shows with little truth. In the case of Self-Raising, it is truly safe to say that you will most certainly laugh, and equally, you will most certainly cry.
The play is over before you know it, and it is almost sad to leave the seat. I wanted to know more, to talk more, to hear it all again so that I could listen out for different details in the second round. I left hoping to see the play’s evolution continue and to catch it again next time. This is a hope I do not believe to be in vain – Self-Raising is Jenny Sealey’s story, and Jenny Sealey’s story is far from finished.