06/02/2017 Inside Out North West


06/02/2017

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Transcript


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Hello and welcome to Inside Out North West,

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with me Dianne Oxberry.

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Tonight, we investigate the support veterans get for addiction

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and alcoholism once they've left the forces and revisit the country's

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first specialised rehab centre.

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While they are in the forces, they find everything

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they wanted, really - belonging, purpose, direction.

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When they come out, they get lost in the system.

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A concrete monstrosity or modern classic?

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We ask if that Wall in Manchester's Piccadilly Gardens could come down.

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Tadao Ando, the architect of the Pavilion, is a world-class

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architect and we should be very proud to have his work in our city.

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I don't think many Mancunians would agree with me.

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And does the world of theatre reflect our diverse society?

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We go behind the scenes of the first fully accessible play

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at the Royal Exchange Theatre?

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Some people don't lift their arms up, say, higher than this.

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So you can't get into the a dress like this.

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It's been described as the last taboo in the British military

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but the misuse of drugs and alcohol among ex forces personnel is leading

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to these once-proud servicemen and women sleeping rough

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and serving time in prison.

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The problem is being tackled by the country's first

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specialised rehab centre, which has been set up in Liverpool.

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Thomas Harrison House claims they can succeed where mainstream

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treatment centres have failed.

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A group of former soldiers enjoying a night out in Liverpool.

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But they've more than their past service in common.

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They're not drinking, because each one of them is a graduate

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of Thomas Harrison House, the UK's first rehab centre

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especially for veterans.

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Does it bother you that you're not drinking tonight?

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Honestly, no. It doesn't.

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Because that tastes nicer than alcohol.

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The best thing I ever did was put a drink down.

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You know, life doesn't revolve around a drink, I don't think,

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and I used to think that it did.

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But obviously not.

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Chris Newton joined the army when he was 17.

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He was an infantry soldier in the Kings Own Royal Border regiment.

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His five-year career would take him all over the world,

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including a tour of Northern Ireland.

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But an IRA bombing of his barracks would trigger the end of his career.

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I thought I was going to die that night.

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I thought I was going to die.

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I thought my time, it was up.

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I thought, "This is it, I ain't coming out of here alive."

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And after that, your career started to fall apart, really?

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Within four months. I never had a career.

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I never had nowhere to live and I had no job,

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I had no financial backing.

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I was just put into Civilian Street and told,

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"Here you are, get on with it."

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How did you leave? What were the circumstances?

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I was getting into a lot of trouble, me,

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and I wasn't doing as I was told.

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I was going in and out of out-of-bounds areas and, um...

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they'd had enough of my misbehaviour, so they discharged me.

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How did you feel about that?

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Very disappointed, actually, after the work I put in.

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Were you, to a degree, your own worst enemy, though?

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Yeah. When I put a drink inside me.

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How did the drinking become a problem?

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I don't know, I think the drinking became a problem,

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because the thing is, I had nothing to do with my days.

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The thing is, I felt let down, you know, and the drink

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was just a solution to me.

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Chris' drinking took him from proud soldier to street drinker,

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with spells in prison.

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It's estimated as many as one in ten rough sleepers are ex-forces.

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Chris shows me the bench in Liverpool

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where he did much of his drinking.

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I was drinking with other people I didn't even know,

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cos there's a lot of it going on in this city

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at the moment and, um, yeah, I was at my lowest,

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I didn't really know what I was doing.

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I was that drunk, you know!

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So what changed? One night, I was stood outside here.

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I'd been drinking all day, it was about 11.30 at night

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and this guy pulled a trolley round the corner,

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his name was Colin Dobie.

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He said to me, "Do you want to change?

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I work in a place called Tom Harrison House,

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"a military rehabilitation centre."

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I said, "Yeah, I do," and that was two years ago,

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this time of year as well.

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And here I am, 20 months sober and clean.

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So what was it about that day and that approach that

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gelled together perfectly?

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I think it was just because I'd never been offered that kind of help

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any time in my life.

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Someone offered me a lifeline and I could see it.

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Someone genuinely offering me a way out.

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I did was the right approach, because it was

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with other servicemen?

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That was it, yeah, with other servicemen.

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Rehab relies heavily on group therapy

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and the opening up of emotions - a real challenge to servicemen

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used to suppressing their feelings.

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However, at Thomas Harrison House, this is made easier by them

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having a shared experience.

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The people I've spoken to, who have tried mainstream treatment centres,

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I've asked them why it didn't work for them.

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And a lot of the answers they've gave are things

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like they just weren't understood, or they didn't feel part of,

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and they weren't sure what they could say

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in front of civilians.

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One guy said he'd joined a treatment centre and he'd done

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an exercise where he revealed he'd been in the forces

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and then, for the next few days, he just got loads of inappropriate

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questions from civilians that he doesn't want to answer.

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So that wasn't safe for him? No.

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It wasn't a comfortable experience for him?

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No, he didn't feel part of the group there.

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One way the soldiers are encouraged to open up

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is through equine therapy.

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Every Wednesday morning, the veterans come to

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Shy Lowen Horse Sanctuary, a place for rescued and damaged

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horses, where animal and soldier help to heal each other.

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Hi, Paul, who's this? This is Muffin.

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Muffin, yeah.

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Paul was one of the first soldiers to graduate

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from Thomas Harrison House 2.5 years ago.

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What is it about working with horses that you have kind of taking two?

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What is it about working with horses that you have kind of taken two?

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Um, cos...

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Well, the same kind of mentality, really, I think.

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Um, they've got issues, I've got issues.

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And, um, we sort of, like, relate to each other.

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As you work with them, you find all that stuff.

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It's like the mirror image, really, of yourself.

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Has it made you become a little more emotionally aware?

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Because some men, you know, particularly ex-servicemen,

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you might hide your feelings?

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You might not be that open about how your feeling about stuff.

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Yeah, that's right.

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In the services, like, you don't say nothing

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about nothing, really. But, um...

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Yeah, because, like I said before, it opened me up, because the issues,

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it nearly brought me to tears, because I could feel...

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I could feel his pain as well. What he had been through.

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Because, don't forget, these horses as well,

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these are in recovery.

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It had me thinking of the things that had happened to me in the past

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and stuff like that, and where I am today.

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I'm finding, in the two years I've worked here,

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that a stereotypical journey from someone into Tom Harrison House

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would be, um, an upbringing in a working class area,

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where they suffer some form of trauma in the early family life,

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they join the forces to get away from that trauma, and,

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while they're in the forces, they find everything

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that they wanted, really - belonging, purpose, direction -

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but then, they suffer more trauma and then, when they come out,

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they get lost in the system somewhere, because they're reluctant

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to ask for help, so it's quite a lot

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-- to ask for help, so it's why a lot

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of homeless people are veterans, prison population, and also just

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people who've never been involved with the service,

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they're just sitting bedsits alone, drinking themselves to death.

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It costs ?10,000 to put a veteran through the three-month programme

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and funding is a constant challenge for the charity.

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Sometimes, what happens is, the chasing the money takes so long

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that someone just says, "I'm done, I can't now

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"continue to want to come in, I'm good to go back out and use,"

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"continue to want to come in, I'm going to go back out and use,"

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and, before we know it, they're back on the street.

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What should the MoD be offering former servicemen and women

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when they leave the Armed Forces, so that we don't get

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in this position?

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I think it's more a question of, not when they leave,

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but when they start.

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It's about shifting the culture of drinking within the Armed Forces,

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because the culture has been - and there's evidence to prove this -

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that men and women in the Armed Forces are drinking

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at dangerously high levels, compared to the UK general public.

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It works out over double the rate of substance misuse issues.

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Work hard, play hard - we understand that.

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We're not saying, you know, soldiers shouldn't drink.

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We're saying that they should be able to, but they should be

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supported to do that in a way that's healthy,

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but I think, if the MoD knows that someone's got a drug or alcohol

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problem before they leave, they should be directly

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plugging them into us.

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Now, the public have a lot of goodwill toward veterans.

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Do you think they would be surprised that there is very,

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very little ongoing support offered to them when they leave service?

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I think so.

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I think what we've got now is some great packages of help

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and care for veterans.

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But those packages focus on the individuals being either

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wounded, injured or sick, and that incorporates mental health.

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What it doesn't tend to incorporate is addiction and alcoholism.

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It's like it's the last taboo for veterans.

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That Prince Harry is very much now raising the profile

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of mental health, but really, not touching on addiction

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or alcoholism.

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There are so many issues raised here, not just about funding

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for places at Thomas Harrison House, or the role that alcohol

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plays in forces life, but also what the servicemen that

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I spoke to see as a lack of support when they are discharged.

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I wanted to put these points to a government minister,

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but sadly, our request for an interview was denied

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by the Ministry of Defence.

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LAUGHTER AND CHATTER.

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With an 85% success rate, Thomas Harrison House hopes

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to continue its work changing the lives of veterans like Chris

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and his fellow graduates.

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They did a lot for me, you know, they offered me a lifeline

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when I came out of prison this year that nobody else did,

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so I took that lifeline, like.

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Piccadilly Gardens is one of the first things that visitors

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to Manchester see when they come to the city centre.

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Yet, to many Mancunians, it's considered an eyesore,

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an architectural disaster and even a waste of public money.

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But like it or loathe it, it's about to get a revamp,

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as Jacey Normand investigates.

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Manchester's public spaces were under the spotlight this summer

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after the local newspaper, the Manchester Evening news,

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began a campaign on the state of Piccadilly Gardens -

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the large open space in the middle of a busy transport interchange.

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They highlighted the perceived decline from its former glory days

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of the 1950s and '60s and they challenged the council

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to step in and restore Mancunians pride and a lot of people agreed.

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I don't think it's particularly beautiful as it is at the moment.

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It's not as nice as it used to be, that's for sure.

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I don't think this helps.

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You used to be able to see everything when you got off

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the tram, it was very open, but it's not now.

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It needs smartening up. It's a bit of a dump, really.

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It led to a call for the gardens to be given a major facelift

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and to demolish the love it or loathe it concrete wall.

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A petition was started and needed 4,000 signatures to be debated

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by the city council and, by April, it had reached 20,000

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and the council took notice.

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It was a well-intentioned, but ultramodernist revamp and,

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in my view, many Mancunians say it was a missed opportunity...

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They debated the issues and promised to ensure the gardens

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would not go to seed. But how could we have come to this?

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The gardens were very different in the Victoria era.

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The space was a hospital and the site of the

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Royal Manchester Infirmary, which was demolished in 1914.

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The area remained empty for a few years whilst different

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uses were discussed, including an art gallery,

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but it ended up being left and made into the largest open green space

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in the city centre.

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As the hospital had a basement, the gardens became the sunken

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gardens most people remember.

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And many have called for a return to the gardens of the past.

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But like them or loathe them, not everybody shares this

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nostalgic view of how Piccadilly Gardens once were.

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Some of us think we should be looking forward

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instead of looking back.

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A lot of it is to do with fashion.

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People just need to get used to buildings, and it's unsustainable

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for a building to be up 10-15 years, it falls out of fashion

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and to knock it down.

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You know, there were probably people who hated the town hall

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when it was first built, but they wouldn't have knocked it

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down within 10-15 years, because of public opinion.

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Give it 20-30 years' time, people might learn to love

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the Pavilion in Piccadilly Gardens.

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It was over 20 years ago, in November 1995, that

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Manchester won their bid to host the Commonwealth Games and plans

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started for a major revamp of sites in the city centre.

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This reconstruction had to be drastically expanded seven months

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later, when the IRA bomb exploded and meant major works would be

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necessary to not just return Manchester to how it was,

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but create a city and a space for the 21st century.

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Piccadilly Gardens was part of that expansion and renowned Japanese

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architect, Tadao Ando, was employed to design a space

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for the next generation.

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Although applauded at the time, today, attitudes may be changing

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and the Piccadilly Wall has, in some quarters, been

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likened to the Berlin Wall.

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Tadao Ando, the architect of the Pavilion, is a world-class

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architect and we should be very proud to have his work in our city.

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But I don't think many Mancunians would agree with me.

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It's very easy to blame architecture for society's problems

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and especially local authorities are very quick to condemn spaces

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for their architecture, when really it's a management issue.

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If you dig down into people's complaints about Piccadilly Gardens,

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it's often not about the space or the architecture.

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It's often about anti-social behaviour or drug dealing

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or something or the maintenance.

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But the city council will come along and say, "Right,

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"we need to do something about this."

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It's easier just to knock it all down and

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start again than actually deal with the real problems.

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Anti-social behaviour has been an issue in the Gardens.

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Its notoriety in the city as a crime hotspot was cemented when police

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made a number of arrests in November as part of a crackdown

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on drug dealers.

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But in fact, these have always been issues for the authorities,

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even when they were the Gardens we all knew and loved.

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We're not going to put back a sunken garden that is full

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of drunks and drug addicts, which nobody would go

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through at night.

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And we are going to do anything we do to recognise that, simply,

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there are tens of thousands of people go through that space

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every day and it's got to be able to cope with tens

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of thousands of people.

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I think the criticism about maintenance is legitimate criticism.

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I don't think it's been maintained in the way it should've been.

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What we have to do is I think find a way of maintaining the greenness

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of the Gardens and make that compatible with the really

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heavy usage that it's always going to have.

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Prior to 2002, when the current version was created,

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nobody used to use Piccadilly Gardens.

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Since 2002, if anything, Piccadilly Gardens has

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been a victim of their own success.

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And whether you like the architecture or not,

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the discussion around Piccadilly Gardens

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has also highlighted another important issue -

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the selling off of our public spaces.

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If any major changes were to be made to the Gardens,

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it would cost money.

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In 2002, renovating the Gardens cost ?10 million.

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The council got that money by leasing off part of the Gardens

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to private investors.

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The area of the Pavilion, Number 1 Piccadilly and the Wall

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are all in private hands and Emma Curtin, a lecturer

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in architecture, thinks Manchester lost out in the sell off.

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We lost the rights of way in Piccadilly Gardens,

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over ten years ago now.

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In order to allow this development and Number 1 Piccadilly Gardens,

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the rights of way were extinguished and it became essentially

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private private land, so now, we're only...

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We can continue to use it, like a public space,

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but that's permitted access. We don't have the right to be here.

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The new owners of 1 Piccadilly and the Pavilion

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are Legal General.

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They finally released their new vision for the site

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in November and their proposals include the removal

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of the concrete wall.

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The council say they had taken public opinion into account

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to remove the current wall and would also improve

0:18:330:18:35

the gardens in a multimillion pound investment plan.

0:18:350:18:40

And even the architect, Tadoo Ando, when told

0:18:400:18:43

that his wall could come down, gave this very

0:18:430:18:45

matter-of-fact response...

0:18:450:18:50

One of the proposals around the Wall seems to be that there could be

0:18:570:19:00

shops placed on both sides of it or even above it, so that will be

0:19:000:19:04

taking away more of the open space and enclosing it into commercial

0:19:040:19:06

space and that's only possible, because we've already lost

0:19:060:19:10

the universal right to use this as a public space and, actually,

0:19:100:19:13

that's something that we could see happening in other spaces

0:19:130:19:15

around the city.

0:19:150:19:18

In the past, public spaces like Piccadilly Gardens

0:19:180:19:20

would be a place to meet people, relax and to discuss

0:19:200:19:23

the issues of the day.

0:19:230:19:25

They were places where we met future husbands and wives.

0:19:250:19:28

They were the focus of a city and a community.

0:19:280:19:33

We're hardwired as a people to want to spend time together,

0:19:330:19:36

but in the internet age - where we can access everything

0:19:360:19:39

at the click of a button - it's unsurprising that we've

0:19:390:19:41

overlooked the importance of public places today.

0:19:410:19:46

So whether you like the Wall, or you hate the Wall,

0:19:460:19:49

or you choose to spend time in the Gardens or simply pass

0:19:490:19:52

through, one thing's for certain - Piccadilly Gardens is at the heart

0:19:520:19:54

of Manchester city centre.

0:19:550:19:59

And generations of us will continue to use it

0:19:590:20:01

for a long time to come.

0:20:010:20:05

Now, does the world of theatre reflect our diverse society?

0:20:060:20:09

The BBC's disability news correspondent, Nikki Fox,

0:20:090:20:11

has been behind the scenes of the first fully accessible

0:20:110:20:14

play at Manchester's Royal Exchange Theatre,

0:20:140:20:17

where the majority of the cast is disabled.

0:20:170:20:20

I said silence.

0:20:200:20:25

APPLAUSE.

0:20:280:20:31

These actors have taken on an almighty task.

0:20:310:20:36

Lorca's The House of Bernarda Alba is a notoriously

0:20:360:20:38

tricky one to get right.

0:20:380:20:41

The show has just come to an end here at Manchester's

0:20:410:20:44

Royal Exchange Theatre, a treasured venue for many

0:20:440:20:46

who live in the North West.

0:20:460:20:51

for some, this place is as important as the city's

0:20:510:20:53

two main football clubs.

0:20:530:20:54

Now, it's just gone down a storm in there.

0:20:540:20:57

So I'm going to tell you how we got to this point

0:20:570:21:00

and take you behind the scenes.

0:21:000:21:03

How is everyone? All right?

0:21:080:21:10

Yeah.

0:21:100:21:16

So there's just over a week to go until opening night and the cast

0:21:160:21:20

are here busy rehearsing and there's no mucking around.

0:21:200:21:22

We cannot get in the way.

0:21:220:21:23

Don't look at me!

0:21:230:21:24

It's all going on at the theatre, and it's a big job

0:21:240:21:27

for the cast and crew.

0:21:270:21:28

So you're going to put it in here, you're going to put it in here,

0:21:280:21:32

and we're going to slide across.

0:21:320:21:33

This production features an all female and pretty much

0:21:330:21:36

all deaf and disabled cast.

0:21:360:21:37

How I had to suffer...

0:21:370:21:38

The play is about a mother's suffocating grip on her five

0:21:380:21:41

daughters, and it's as intense as it is challenging.

0:21:410:21:43

I'd rather sweep the streets...

0:21:430:21:45

And every little detail has to be thought of.

0:21:450:21:47

So I've just been told about this area here.

0:21:470:21:52

It's the costume department, where the magic happens.

0:21:520:21:57

The ladies inside here are going to be making costumes

0:21:570:22:00

for all the actors on stage and, apparently, everything's

0:22:000:22:02

changing and evolving.

0:22:020:22:03

It's all very exciting, only a couple of days to go,

0:22:030:22:06

so I'm going to have a little look and see what it's like.

0:22:060:22:09

Is it like Strictly Come Dancing? Who knows?

0:22:090:22:12

This is bigger than I thought.

0:22:120:22:13

There's some big frocks!

0:22:130:22:16

We've got to think about how some people don't lift their arms,

0:22:160:22:22

say, higher than this. Mm-hm.

0:22:220:22:23

So you can't get into a dress like this.

0:22:230:22:28

So you have to think about everything a little bit more

0:22:280:22:31

and from everybody's point of view.

0:22:310:22:32

From if your eyes work or if your ears work,

0:22:320:22:35

or if your body works, and you've got to take

0:22:350:22:37

all that in as well.

0:22:370:22:40

For the player's director Jenny, working with a cast

0:22:400:22:42

of actors with different disabilities isn't unusual.

0:22:420:22:46

It's those reactions that have been massive, but they have...

0:22:460:22:50

You have to hear it in your head and you have to feel it.

0:22:500:22:56

It's this passion she puts into running Greaeae,

0:22:560:22:59

a theatre company all about putting deaf and disabled

0:22:590:23:01

talent centrestage.

0:23:010:23:02

It's a necessity, I think.

0:23:020:23:04

There are so few opportunities out there for deaf and disabled people.

0:23:040:23:09

It is 2017, we are and we have been - for many, many, many years -

0:23:090:23:13

part of society, so theatre is the best place to demonstrate

0:23:130:23:18

who we are, what we do and what we are about

0:23:180:23:21

and that we are people.

0:23:210:23:31

Using a space to challenge perceptions of disability

0:23:330:23:36

is what Jenny is all about.

0:23:360:23:37

As the driving force behind the opening ceremony of

0:23:370:23:39

the London 2012 Paralympic Games, she showed the world what

0:23:390:23:41

deaf and disabled people can do.

0:23:410:23:43

This time, her stage is smaller, but the scale

0:23:430:23:45

of the task is just as great.

0:23:450:23:47

It's terrifying, actually. I am scared!

0:23:470:23:48

I think it's because you're so exposed.

0:23:480:23:51

So that's why we're so disciplined with the girls.

0:23:510:23:54

How they sit, how they move, everything!

0:23:540:23:56

Which is important when this is your stage.

0:23:560:24:00

And the transformation is underway.

0:24:010:24:06

When it comes to physical access, this place is sorted.

0:24:100:24:16

Lifts and ramps are already part of the theatre.

0:24:160:24:19

But to help deaf audience members, screens are being put up and changes

0:24:190:24:22

to the script will help blind people understand the action.

0:24:220:24:28

The production is constantly evolving,

0:24:280:24:30

because it has to incorporate the actors' different disabilities.

0:24:300:24:32

What's your sister saying?

0:24:320:24:33

Peeking at the men througha crack in the gate!

0:24:330:24:36

Peeking at the men through a crack in the gate!

0:24:360:24:38

You, come here!

0:24:380:24:39

I said do you think it's decent for a woman of your class to go

0:24:390:24:43

running after men the day of her father's funeral?

0:24:430:24:45

Answer me! Who were you looking at?

0:24:450:24:47

I... I was looking...

0:24:470:24:48

Who?

0:24:480:24:50

In fact, the signers even form part of the play itself,

0:24:500:24:53

and they help the actors understand each other.

0:24:530:24:57

These challenges have been to work on the show to make it work

0:24:570:25:00

for deaf and disabled actors.

0:25:000:25:01

That's been the most amazing, fascinating challenge of all.

0:25:010:25:04

And I think the changes that I've had to make have actually improved

0:25:040:25:07

the play in many ways.

0:25:070:25:10

They've added a whole new dimension of richness and meaning to the text.

0:25:100:25:17

Back in rehearsals, Jenny is working through the intricacies of each

0:25:170:25:22

scene, and the cast can't afford to waste any time.

0:25:220:25:26

No, don't go and sit down, straight in there.

0:25:260:25:28

For Jenny, this has to be right.

0:25:280:25:30

I started thinking about Lorca and somebody there said, "I'm sorry,

0:25:300:25:34

"but Lorca did not write plays for you lot to be in!"

0:25:340:25:38

Boom!

0:25:380:25:41

You know, that is, for me, that's a red rag to bull.

0:25:410:25:44

I was like, "Right, we are doing Lorca!

0:25:440:25:48

"Many times, we are doing Lorca!"

0:25:480:25:51

Who has the right to say what plays we can and cannot do?

0:25:510:25:55

This attitude may be one of the reasons why latest research

0:25:550:25:58

suggests there aren't any deaf or disabled students in some

0:25:580:26:01

of the top drama schools in the UK.

0:26:010:26:03

Ladies, taking a break from rehearsals?

0:26:030:26:06

What's wrong?

0:26:070:26:10

Philip, who has a prosthetic leg, has been acting for several years.

0:26:100:26:12

I don't know, I sleep like a log!

0:26:120:26:14

Have you found any barriers to do with having a disability?

0:26:140:26:17

I did find, when I started auditioning for drama schools,

0:26:170:26:21

that the big elephant in the room was my disability, and,

0:26:210:26:25

when I did end up managing to get a place at a drama school,

0:26:250:26:28

it was never discussed, because I think I felt at the end

0:26:280:26:31

of my tether and didn't declare it.

0:26:310:26:33

And with my disability, I can hide it or I can make it known.

0:26:330:26:37

And that day, I think I was so fed up, I just kept it

0:26:370:26:40

covered and just performed.

0:26:400:26:42

The Arts Council knows there is a problem.

0:26:420:26:46

Their own research suggests just 4% working in the industry

0:26:460:26:48

have said they have a disability.

0:26:480:26:50

I don't get it. Maybe I'm just being thick.

0:26:500:26:52

I just don't understand what the problem is.

0:26:520:26:56

You're at theatre, for God's sake! Use your imagination!

0:26:560:26:59

Sorry, it just makes me so cross!

0:26:590:27:03

And this is what imagination can achieve.

0:27:030:27:08

It's showtime.

0:27:080:27:11

So what do the audience think of the opening night?

0:27:110:27:13

What do you make of the fact the cast are majority deaf or disabled?

0:27:130:27:17

Did it kind of enhance the experience for you?

0:27:170:27:19

Definitely, I think it worked really well with the story as well,

0:27:190:27:22

it fitted so well, and yeah, it completely enhanced it,

0:27:220:27:24

it give it another level.

0:27:240:27:26

Right, now I need to find a man, because this cast

0:27:260:27:29

is just full of women. It's just women, women, women!

0:27:290:27:32

We need a man. Man!

0:27:320:27:35

Hello!

0:27:350:27:36

It's so immersive.

0:27:360:27:41

Yeah, I haven't seen any Lorca plays played out like this before.

0:27:410:27:44

Perhaps, but it's better this way, now sit down!

0:27:440:27:50

We will know true equality when writers don't have to write

0:27:510:27:56

plays that have disabled characters.

0:27:560:27:59

We can play many, many, many, many roles!

0:27:590:28:03

And I hate saying this, because it means I won't have a job,

0:28:030:28:06

but for me, true equality will mean when we don't need Greaeae any more.

0:28:060:28:12

I said silence.

0:28:120:28:17

Well, that play looks fantastic.

0:28:210:28:24

Now, that's all from us for this week,

0:28:240:28:26

but Inside Out is back next Monday at 7.30.

0:28:260:28:29

Until then, goodbye.

0:28:290:28:32

Next week, we report on dark skies and discover why our region

0:28:380:28:41

is becoming a tourist destination for stargazers.

0:28:410:28:44

The legends of the stars and the history and the spectacular

0:28:440:28:47

things we get to see over the years, they all make an important asset

0:28:470:28:50

that we need to protect.

0:28:500:28:55

Hello, I'm Riz Lateef with your 90-second update.

0:29:040:29:07

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