4 February 2026
A core part of the 2026 Festival, the Access Programme offers specific events for those with access needs, ranging from NZSL-interpreted shows,, audio-described performances, , relaxed performances, discounted tickets for people with access needs, accessible pricing including Choose Your Price I Kōwhiria Tō Utu and TIX for $20, along with additional resources and personalised assistance.
Our Access Programme producers Sameena Zehra and Helen Fletcher are at the heart of the programme, working with access communities and finding solutions to help break down barriers and ensure the Festival is inclusive for everyone.
With a shared love of the arts and creative backgrounds, Sameena and Helen are committed to ensuring the Festival is inclusive “for everyone”. I ask them to share their stories of how they came to be working with access communities in the arts.
Helen Fletcher: “It’s my community. It’s important to me personally due to my own disabilities. I’ve worked in the access space most of my life in mental health and the disability sector and that work intersected with my work as an artist – mostly as a writer and playwright.
“I did a bit of acting but left it because it wasn’t accessible to me. That was 20 years ago, and we have seen improvements in access for audiences as well as for artists.”
Sameena Zehra: “I describe myself as an able-bodied person living in an ableist world and I am very aware of the privileges and advantages I have in a world that caters far more to those who are ‘able’ and puts up barriers for others to participate.
“In my own arts practice as a writer and performer, I find that ensuring accessibility makes my creative practice more interesting. Accessibility has changed a lot over the last two decades, both for audiences, but also for artists and that’s exciting to see.”
I asked Helen and Sameena to elaborate on what accessibility means in the context of putting together an Access programme as part of the Festival, and what challenges they faced.
SZ: “It’s not just about disability, but providing access across the board.”
HF: “Sometimes there are small things that can make a difference – providing more information helps. This might include more detailed information about the show, and information about the venues, where accessible bathrooms can be found, the best entrance to use, and where to park.”
Helen has recently been using a walker and says that has changed her outlook on accessibility further. “As aware as you think you are, there are always new barriers to overcome. I really notice the difference in how people behave around me when I have a mobility dog or use mobility aids. It’s about being patient and showing consideration for others.”
Sameena and Helen both add that by making events more accessible to meet the needs of the disabled communities, it also benefits others. “People who suffer from anxiety or who are unsteady on their feet, parents and caregivers with babies or toddlers, can all participate more because of access initiatives. It’s about creating pathways where people can feel comfortable. Accessibility is manaakitanga and including everyone in our communities.”
Sameens adds that the needs of differing communities are constantly changing. “Our Deaf consultant mentioned there is a community of people who are Deaf or hard of hearing who do not use sign language and this is a group of people who need additional support to enable them to participate.
“Accessibility is a journey and there’s always more to learn.”
SZ: “Everyone deserves the opportunity to make and experience art – there are so many benefits to mental health and wellbeing and encouraging critical thinking.”
In developing the Festival’s Access programme, Helen and Sameena consult closely with the disabled community and are always working with those who have lived experience.
With the Festival now less than three weeks away, I ask Sameena and Helen what they are most excited about.
SZ: “I am excited about Music Portrait of a Humble Disabled Samoan. This has been such a huge undertaking, and it will be an incredible show with music, performance and all presented ‘in the round’. I’m also looking forward to TEIWA and seeing that melding of Māori musician Rob Ruha, kapa haka, and the New Zealand Symphony Orchestra.”
HF: “I’m excited about the number of shows with some level of difference or disability at the fore either thematically or through performers and that’s not just Music Portrait of a Humble Disabled Samoan, but also Mythosoma and Goliath: Julia Deans. The Red Phone Project [free event, part of The Performance Arcade on Wellington Waterfront] will also offer a different kind of experience - a playful, anonymous solo encounter where you connect with another “audience member”, perfect if you prefer to avoid crowds.
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