How do we better serve disabled artists, creatives & audiences? Audiences:The Arts Council of Wales' ticket scheme for disabled audiences HYNT should be run out in England. This would ensure disabled audiences don't need to sign up to numerous individual theatre schemes which require proof and considerable information. An English HYNT could offer a single access point for disabled customers across the country, provide theatres with the individual's access requirements. GDPR legislation may impact on individuals information currently held by theatres. The scheme should be free to disabled consumers as it is in Wales. It could be funded, delivered and managed by Arts Council England, UK Theatre & BACH and other relevant venue consortiums & industry bodies.More theatres should invest in accessible online ticketing technology, allowing disabled audiences to book tickets directly online. Currently only South Bank Centre offer this service. It is borderline discriminatory that the majority of theatres do not currently offer this service.Arts Council need to have a range of options to adequately penalise funded venues without adequate public access.We need a solidarity bridge between artists & performers and disabled audiences. Artists should not perform at non-accessible or inadequately-accessible venues (using a template such as Attitude is Everything's Gold, silver & bronze venue awards). There is a duty on artists to understand where they are performing and the consequences of their decisions. Artists & Creatives:Drama Schools (& conservatoires) are currently badly letting down disabled students in the performing arts. 2016 stats revealed not a single disabled graduate from UK drama schools. Unpublished Conservatoire UK stats revealed a very in-diverse sector in terms of lower socio-economic groups, BAME & disability. These HE institutions need to be publicly embarrassed by the industry they serve to do more in terms of diverse recruitment across the board but particularly on disabled artists.Arts Councils should undertake an access audit of the stages, back stage & administration areas of their NPO estate. Funding should be made available to organisations capital access requirements. Organisations choosing not to become accessible should be penalised by being suspended from the portfolio. Otherwise we are limiting the career options of disabled performers and professionals.Meantime theatres should consider swapping rehearsal spaces when engaged performers have access issues, to ensure artists are not engaged due to access issues..