After an acclaimed premiere at Newcastle’s Alphabetti Theatre in 2023, Tiny Fragments of
Beautiful Light is set to hit the road on a UK tour. An immersive, interactive exploration of one
woman’s confusing journey of self-discovery, Tiny Fragments of Beautiful Life explores the
under-represented female experience of autism through heartfelt storytelling and comedy.
Tiny Fragments of Beautiful Light follows Elsa, a kind, funny and quirky girl whose life has never been mundane or short of struggles. Throughout her adolescent years, school was always a nightmare, and romance a mystery, until now. Elsa meets Carmen, who seems to hold the key to unlocking Elsa’s authentic self. This comedy drama is a celebration of the joy and freedom that comes when we live as we truly are, and not as the world thinks we should.
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Photo by Victoria Wai |
Whilst attitudes towards autism are changing, with more guidance around autism diagnoses for men and boys, many autistic women and girls still struggle to receive the support they need. Tiny Fragments of Beautiful Light is Davies’s response to this lack of visibility, in which she shifts the focus to highlight the intricacies of living with autism as a woman. Informed by her own lived experience of being diagnosed with autism, she creates an important platform for female neurodiversity.
Ahead of the tour, we sat down with writer Allison Davies to learn more about the show.
What can you tell me about Tiny Fragments of Beautiful Light?
Tiny Fragments is a play that began as a monologue written during the first lockdown in 2020, partly as a way of exploring some questions I had and also as a means of creative expression during a time when the world seemed to be going sideways. I mucked around with paints too and baked an awful lot of bread, and discovered I can’t really draw, but I can make a mean baguette.
Tiny Fragments is a play that began as a monologue written during the first lockdown in 2020, partly as a way of exploring some questions I had and also as a means of creative expression during a time when the world seemed to be going sideways. I mucked around with paints too and baked an awful lot of bread, and discovered I can’t really draw, but I can make a mean baguette.
Where did the idea for the piece come from?
The idea came from a combination of things. I’ve always been a bit of an over-thinker and felt like I was struggling in a world where most people seemed to be far more successful at doing life, while I was flailing around in the undergrowth and the inside of my head was full of holes through which I regularly fell. I got to the stage where I almost resented my own brain.
As an adult I had a growing awareness that I might be neurodiverse and then I heard Katherine May interviewed on Radio 4, and so much of what she said about being an autistic women resonated with me. I then read several articles about autism in women and the proverbial penny went into free fall, so I began writing as a means of processing my thoughts and feelings, as information always helps me feel better.
How did you approach the writing process for the piece?
To an observer my writing process probably looks pretty chaotic, but it works for me, and in saying that I have been known to resort to the occasional spreadsheet. Initially I free-wrote the piece, at the same time researching autism in women and girls. I was also going through the diagnostic process myself, so I drew on that too.
To an observer my writing process probably looks pretty chaotic, but it works for me, and in saying that I have been known to resort to the occasional spreadsheet. Initially I free-wrote the piece, at the same time researching autism in women and girls. I was also going through the diagnostic process myself, so I drew on that too.
How important was it to tell this story of discovery?
I don’t know how to answer this as I’m not sure it’s up to me to say whether or not a story is important. It sounds a bit odd, but the story felt like it wanted to be told. There was an imperative at work, though where that came from I’m not quite sure.
I don’t know how to answer this as I’m not sure it’s up to me to say whether or not a story is important. It sounds a bit odd, but the story felt like it wanted to be told. There was an imperative at work, though where that came from I’m not quite sure.
The show offers audiences the option to wear headphones to help them decide what they can hear, why did you choose to do this?
I worked with a brilliant access consultant, Vici Wreford-Sinnott, looking at ways that we could make the show as accessible as possible to neurodiverse audiences.
I worked with a brilliant access consultant, Vici Wreford-Sinnott, looking at ways that we could make the show as accessible as possible to neurodiverse audiences.
My aim was to provide a safe space for neurodiverse audiences to experience theatre in which sensory overload is depicted. To mitigate causing anyone discomfort or distress I worked with a Sound Designer and AV specialist to creatively use headphones so that audiences had a choice of whether or not they listened to certain aural moments.
The headphones are simply a way of helping to mitigate sensory over-stimulation for people like me who might struggle with certain loud noises, but we also had a kind of route map of the show, highlighting particular moments that might be triggering.
How do you think autism is viewed in a 2025 Britain?
According to Autism Alliance UK, public awareness of autism is at an all-time high, but awareness is not the same as understanding and there’s still a long way to go.
According to Autism Alliance UK, public awareness of autism is at an all-time high, but awareness is not the same as understanding and there’s still a long way to go.
Stigma and discrimination persist and 91% of autistic people feel that society does not accept or only partially accepts them. We’re still portrayed as outsiders who don’t fit in, but as human beings our lived experiences are as rich and varied as anyone else’s. We’re capable of all the same feelings, we’re kind and empathetic and we get angry, we laugh, we cry, we have strengths, and sure, we have weaknesses too. But due to lack of understanding our needs can go unmet, and it’s time that changed.
As a society, Instead of othering we should celebrate difference, and I believe we’d all be richer for it.
Where did your arts career begin?
Mr Kerr’s class at Fairfield School in Cockermouth, where I wrote my first play when I was seven. He was one of those encouraging and nurturing teachers who really “saw” the kids in his class. I often think of him when I go to Cumbria to visit my Mum.
Mr Kerr’s class at Fairfield School in Cockermouth, where I wrote my first play when I was seven. He was one of those encouraging and nurturing teachers who really “saw” the kids in his class. I often think of him when I go to Cumbria to visit my Mum.
I learned to read early and loved books. Stories are somehow magical to me, but instead of pursuing a career in the arts I trained as a lawyer, then became a nurse and ended up working in the charity sector, and for years I didn’t write much more than fragments and jottings, plus some odd bits of poetry. Then in 2004 I won a short story competition. The prize was a laptop and cash, and a friend convinced me that perhaps I ought to pay a bit more attention to writing. I completed an MA, fell in love with script writing and had my play commissioned in 2012 by OddManOut. Working with them was a fantastic experience, one I enjoyed so much I wanted to do it again, and again, and the rest is theatre. I’ve been lucky enough to work with some truly brilliant people and I’ve a great time doing it.
How do you reflect on your career journey to date?
I reflect on my career journey to date with gratitude. I’ve had so much fun, learned an incredible amount and worked with some wonderful people. There’s a lot of luck involved and if my writing career ended tomorrow I could look back with a smile and say, “It’s been a blast.”
I reflect on my career journey to date with gratitude. I’ve had so much fun, learned an incredible amount and worked with some wonderful people. There’s a lot of luck involved and if my writing career ended tomorrow I could look back with a smile and say, “It’s been a blast.”
What advice would you give to any want to be writers?
Be curious about everything. Be persistent. Be good to work with. Be authentic and accept yourself. Treat failure as a learning opportunity. As George Lucas says, creating things is inherently risky and failure is a natural part of the process, so take the risk. Sometimes the things that initially seem to go awry turn out to be the best.
Be curious about everything. Be persistent. Be good to work with. Be authentic and accept yourself. Treat failure as a learning opportunity. As George Lucas says, creating things is inherently risky and failure is a natural part of the process, so take the risk. Sometimes the things that initially seem to go awry turn out to be the best.
Trust your instincts. Be authentic and find a community of like-minded people who can spur you on. Listen to advice. Be willing to learn. There are plenty of good writing courses and workshops out there.
Most of all, have a life that goes beyond writing and do things that bring you joy.
What would you hope an audience member takes away from seeing the show?
I hope audience members perhaps come away with at least some questions about the subject matter, engage with the characters and find something that resonates with them, but most of all I hope they have a good time.
I hope audience members perhaps come away with at least some questions about the subject matter, engage with the characters and find something that resonates with them, but most of all I hope they have a good time.
Tiny Fragments of Beautiful Light tours visiting Gala Theatre, Durham (6th - 8th February), Enable US, Drama Studio in Sheffield (13th February), Derby Theatre (15th February), Queens Hall Arts in Hexham (19th February), Darlington Hippodrome (20th February), Alphabetti Theatre in Newcastle (21st and 22nd February), Theatre @41 in York (25th February), Storyhouse in Chester (27th February), The Atkinson in Southport (28th February) and Birmingham Rep (4th - 6th March).
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