A Memory That’s Stayed With Me for 45 Years
I always remember my own school Christmas productions.
In all my years at school, I had one speaking role: I was an angel and had to say, “Go quickly and see him.”
Blink and you’d miss it.
Every other year, I was just one of many children in the chorus. I wasn’t unhappy, but I felt invisible and unseen — simply part of the background.
But one year was different.
A teacher asked me to be in charge of turning on the illuminated star — the big “wow” moment in the nativity. I was completely thrilled. For the first time, I felt important. I felt included.
Rehearsals went smoothly. I muffed it a bit on the day — perhaps they were right to keep me in the chorus — but that doesn’t matter. What matters is that someone thought about me, found a role that suited me, and gave me something meaningful to do.
That tiny act of inclusion has stayed with me for 45 years.
When Inclusion Becomes Tokenism
Over the years, I’ve watched many school Christmas performances. So often, speaking children were given the main roles, while others — usually children with different communication needs — were simply present on stage without a meaningful part.
They were on stage, but not truly involved.
Visible, but not valued.
Included in name only.
But I’ve also seen performances where every child, regardless of how they communicate, was given a role tailored to their voice — spoken, signed, symbolic, technological, or sensory.
And that’s the kind of inclusion this blog is about.
Communication Should Never Be a Barrier to Joining In
Every child communicates in their own way.
Speech is only one method — not the benchmark, not the requirement, and certainly not the only valid route onto the stage.
Performances should reflect this diversity by:
adapting roles to match communication strengths
using tools children already rely on
celebrating a wide range of expressive styles
ensuring no child is reduced to a token or an afterthought
Inclusion means designing performances so that communication is never the reason a child misses out.
Meaningful Ways to Include Every Child’s Communication Style
Using AAC Devices
A voice output aid
A switch for a key phrase
A Big Mack for repeated lines like “Ho Ho Ho!”
Using Symbols
Holding up one or more symbols as their line
Pointing to a symbol on a communication board
Choosing between symbols to move the story forward
Eye Gaze
Using eye gaze to speak their line
Selecting sound effects
Choosing scene transitions
Using Signing
Signing their line while someone narrates
Leading a repeated Makaton sign
Signing the chorus of a song (or indeed all of it!)
Musical or Sensory Contributions
Pressing a switch to cue music or activate lights or projections
Playing simple instruments
Holding sensory props
Using Multimodal Communication
Simple ways to include children who communicate through photos, objects or actions:
Photos: Holding up a photo as their “line”, choosing between photos, or pointing to a photo sequence that moves the story forward.
Real objects: Giving meaning through props — a star to lift, a bell to ring, a gift to hand over, a lantern to hold.
Objects of reference: Incorporating familiar objects some children already use to anchor their role or cue their moment.
Symbol + object pairing: Matching a symbol to a prop, placing a symbol on a board, or choosing between two symbol–object pairs.
Gestures/actions: Sprinkling “snow”, turning on lights, placing a star, waving ribbons — actions that are their line.
Sound cues: Using instruments, shakers, chimes or switches to create sound effects in place of spoken lines.
Slideshow cues: Children point to or trigger a photo or symbol on a projected slideshow that accompanies the story.
Backstage communication: Decorating props, recording sounds, or contributing artwork that becomes part of the performance.
These roles hold equal value — because value comes from belonging, not from the length of a line.
Pre-Recorded Lines or Scenes
Filming lines or short scenes in advance can dramatically reduce the pressure to perform on the day. Children can record their part in a quiet, familiar space, with plenty of time, encouragement and support — and no audience watching them.
One of the best performances I ever saw used this approach, and it was incredibly effective. Each child’s pre-recorded segment was woven into the live performance, giving them a moment to shine in a way that felt completely safe for them. Their confidence, pride and individuality came through beautifully on screen, and the whole audience loved it.
Pre-recording not only supports children who use AAC, symbols, signing, or multimodal communication — it also gives families a treasured keepsake and ensures that every child is represented meaningfully, even if performing “live” would be too overwhelming.
A Better Approach: Designing From the Child Outward
Instead of starting with the script and squeezing children into fixed roles, we can start with the child:
What do they enjoy?
How do they communicate?
In what way can they shine?
When we design performances around children’s communication styles, we create experiences where everyone belongs, not just those who speak fluently.
Acknowledging Another Group of Children
Of course, communication is only one aspect of inclusion.
Some children find performances difficult for entirely different reasons — sensory needs, anxiety, stage fright, or simply preferring quiet roles.
That’s a whole other form of inclusion, and in a separate blog I’ll explore how to create low-pressure performances where it’s completely OK to join in… and equally OK not to.
For now, this piece stays focused on communication accessibility, making sure no child is excluded because their communication style isn’t the traditional one.
Helpful Resources
Jacob’s Ladder Makaton Nativity Musicals
https://www.jacobsladderproductions.co.uk/nativity-musicals-with-makaton-signing.html
Singing Hands and Out of the Ark Makaton-Supported Songs
Excellent for building inclusive musical moments and supporting whole-group signing. youtube.com