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Performances for autistic people | August 2025

A close-up from the Hamlet main stage show (not for autistic audiences), featuring two actors in an intimate, tense moment. The man, wearing a white shirt and black tie draped loosely, smiles softly, while the woman, in a light pink wrap, has an expressive, slightly nervous smile under dramatic stage lighting.

Hamlet

"An absolute triumph"

– LondonTheatre1

An actor in a white outfit kneels on stage, covered in fake blood, screaming in anguish amidst scattered papers, a drum set visible in the background.
A close-up of an intense actor holding a large blood-stained knife, his face and hands also smeared with fake blood, lit dramatically against a dark background.
A distraught actress in white kneels with her hands over her ears beside a man lying on the stage, clutching his chest, surrounded by scattered papers and debris.
A woman in a white outfit, partially stained with fake blood, stands in profile screaming with intense emotion while holding a piece of cloth. In the dimly lit background, a man in a blood-stained white shirt looks on with a distressed expression.

Previous Performances

Trafalgar Studios London, December 2016

Gyula Shakespeare Festival Hungary, July 2018

Gdansk Shakespeare Festival 2015

Mercury Theatre Colchester 2016

Martin Sorescu National Theatre Studio. Craiova International Shakespeare Festival, Romania, 2016

Park Theatre London 2016

Clasicos en Alcala, Spain 2016

Neuss Globe Germany 2016

Hamletscenen Elsinore, Denmark 2016

Antzokia Teatro Vitoria Spain 2016

Teatro Circo Murcia Spain 2016

Adapted and Directed by Kelly Hunter

Original Design Anthony Lamble

— Hamlet, Who's There (2015)

A distressed woman with disheveled hair clutches a crying man tightly in her arms on a dark stage. Scattered photographs and papers cover the floor, and a large leather chair is partially visible beside them. The woman looks upwards in anguish while the man buries his face in his hand.
Kelly Hunter

"In the version I made in 2015, first titled “Hamlet Who’s There?” The show takes place in two locations, Hamlet’s bedroom and the graveyard and spans 6 hours, beginning at midnight on the wedding party of Gertrude and Claudius. Everyone is divided from themselves. Purposefully so. The ghost of Hamlet’s father screams, worms, and fights its way out of Hamlet’s possessed body. Laertes pulsates his way through a blistering drum solo trying to connect with his friend. The black and inky spots that plague Gertrude’s mind’s eye shake her very core. Ophelia crawls onto the stage with the dead bleeding body of Polonius on top of her. The readiness is all, and the rest is silence. We premiered the play at Gdansk Shakespeare Festival in August 2015. Probably it was never better than that night. Over the next three years the production became slicker, better lit and more rehearsed, with several cast changes, notably a brilliant Gertrude from Katy Stephens. The night in Poland was unforgettable and set Flute theatre (and me) off on a love affair with European Shakespeare festivals, for which the flame still burns today."

– Founder & Director

—Kelly Hunter

A diverse group of performers energetically engage in a live Flute Theatre performance, using expressive gestures and movement on a dimly lit stage. The actors wear casual, comfortable clothing in natural tones, creating an inclusive and accessible environment tailored for autistic individuals. This performance, inspired by Shakespeare and adapted using the Hunter Heartbeat Method, highlights Flute Theatre’s commitment to neurodiverse storytelling. Audience members can be seen watching with interest in the background. Flute Theatre also offers training and courses for actors, educators, applied theatre students, and families to support autism-friendly performance practices.

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Funding for the arts is currently said to be at a ‘terminal decline’ but we will continue to create our life changing opportunities whatever the challenges.  Please help us continue with a one off donation or a monthly subscription. Your donations go directly toward our performances with marginalised people and always will.

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