THE TEMPEST, Orange Tree Theatre, 27 October 2016

Kelly Hunter, a Royal Shakespeare Company actress, began working with autistic children in 2002. Through this work and a desire to bring Shakespeare to children who do not have access to it, she developed the Hunter Heartbeat Method. This technique helps introduce autistic children to Shakespeare through games and the rhythm of the iambic pentameter.

The use of theatre and Shakespeare is a vital part of Hunter's work. "Theatre is based on life, generosity and love. The joy theatre gives is immeasurable," she says. "We can use Shakespeare's universal language to communicate how it is to be alive to these children."

Hunter's company Flute Theatre has been touring the world with their unique production of The Tempest for two years; it's currently playing at Richmond's Orange Tree Theatre. "It's a perfect home for this production," notes Kelly. "So welcoming and a perfect theatre space for this show".

The production uses games to help practise and develop skills that autistic children find particularly challenging, such as making eye contact and interpreting facial expressions.

Sessions start with a warm welcome from Hunter, who seems to have an incredible memory for names. All the children and actors sit in a circle around Prospero's island, where a 'hello heartbeat' ritual begins. Actors pound on their chests to mimic a heartbeat while chanting "Hello" to each other, encouraging the children to do the same.

The actors then coax the children to join them on the island as the story unfolds. Games follow the Shakespearean narrative with percussive rhythms, songs and physical challenges. Every production is completely different, as the actors adapt constantly to the needs of the children involved. Every effort is made to include them all as much as possible, whilst maintaining a calm and safe environment.

All the actors are gentle, reassuring and endlessly patient. Finlay Cormack is a charming Ariel and Joshua Jackson is a brilliant and animalistic Caliban, but all are very fluid, changing characters according to how they gauge a child is reacting to the performance.

Hunter's choice of The Tempest is very specific. "The island is isolated and Caliban has no language - like so many of the children. He is learning to speak. It is also very much based on Shakespeare's notion of the mind's eye as he explores how we see and perceive, which is the struggle the children have."

Much of the actors' skill and training comes from Hunter herself. Sifiso Mazibuko, a commanding Prospero, credits Hunter with the skill all the actors have in handling the challenges that working with autistic children present. "Training is in the rehearsal room," he says. "The show is never the same, so there's only so much you can rehearse."

Mazibuko has been working with Hunter since 2013, and recognises how unique the show is. "It allows us to experience something very special," he says, smiling broadly. "It's never about the amount a child can do, but what they are able to get to experience. We are dependent on each other: the play doesn't work without the kids."

Hunter does not have autistic relatives and states that she never took a course. She sees this as an advantage, as she admits that if her own children were on the spectrum, she would have never been able to develop her work. Having an outside eye has been a distinct advantage for her.

The benefits of her work on the children are beautiful to witness in the production, but there are now scientific findings to support it too. Psychologists at Ohio State University recently studied Hunter's method in a 10-week trial. Their findings suggest that the method helps children with autism sharpen their understanding of language and facial expressions.

Hunter's work is increasingly being seen as scientifically important, but many parents who have been amazed by their children's reaction to the show do not need to be convinced. "In many ways, it feels like we are the beginning," says Hunter. "It's amazing that most families who come want to come again."

This production of The Tempest is a touching and moving show, bringing theatrical experiences to children who are often so hard to reach.

The Tempest is at Orange Tree Theatre until 4 November

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