Pioneer Earns UCLA Masters of Fine Arts Degree, Acts in Film & Theatre Gaining Attention for Performers With Disabilities
Pam Vetter
February 21, 2008
What the audience didn't notice in that scene was that Stocking has a disability. In real life, Stocking uses a wheelchair for distances because at the age of two she was diagnosed with a childhood disease that ended up causing scoliosis and partial paralysis.
"My disability isn't shown in 'Stuck On You.' I'm just sitting there as the character. The Farrelly brothers have done more for people with disabilities in films than any other directors. I'm very grateful for my part in that film," Stocking said. "The problem is reaching beyond the Farrelly brothers and into dramatic roles. It's very hard for me to get auditions and they will not see me unless the role specifically says the character has a disability. I only get two to five auditions a year. For my able-bodied actor friends to gain work, it takes more than twenty auditions to finally land a job."
Stocking is taking an active role in Hollywood as she is in charge of the artistic vision of the Performers With Disabilities Committee for the Screen Actors Guild.
"We meet regularly and we know how difficult it is for people with disabilities. But, there are people with disabilities in the workforce and in the fabric of American life. We deserve to be seen in equal representation. We should not be ignored," Stocking said. "We can't be told we shouldn't be a part of the process anymore."
In fact, Stocking knows what she's talking about because she's one of the early pioneers in gaining professional training as advanced degrees in the arts for people with disabilities are rare.
"The Department of Rehabilitation will pay for your education if you're disabled. I told my counselor I wanted drama to be my major. My counselor with the Department of Rehabilitation immediately discouraged me from that major, saying acting wasn't considered a viable job," Stocking explained. "Instead they suggested computer programming. I auditioned for the 'Miracle Worker' and was cast as an orphan. I did a lot of theatre shows after that, but a professor told me acting couldn't be my profession because there were not that many disabled actors. He cast me because he thought I was great, but still discouraged me."
Stocking listened to the advice for ten years, but the Other Voices Project at the Mark Taper Forum led her back to what she loves.
"I did readings and got very involved. The vice chair at UCLA saw me do a reading and invited me to audition for the Masters of Fine Arts program where 700 people audition, but they only take twelve. I auditioned and was accepted. I finished the intensive program in three years and graduated in 2001. I'm very proud of getting in because conservatory training was completely barred for the disabled. We were not welcome. Previously, I auditioned for NYU. I was asked, 'What are you going to do about the dance requirement?' There was no accommodation and that was the reason for not allowing people to gain professional training. At UCLA, things were modified. My training led to auditions and work in the theatre until 2003, when I landed 'Stuck On You.' I also appeared on a show on the WB in 'Twins.'"
While the door should swing open for a classically trained dramatic actress, that is not the case.
"It's not a glass ceiling for disabled actors, it's a leaded cement block. It's prejudice," Stocking said. "We've tried being nice but it hasn't worked because they donīt care. Now, we need to be honest and speak up. There's been no unifying organization yet. The perception is that there aren't enough of us. My MFA at UCLA counts in the theatre world, but not in film and television. Of course, if they need someone with a disability, they can't see someone fast enough. But, producers don't want to add disability as diversity to the Casting Data Report. They're afraid of lawsuits because it will show they haven't cast us in their shows."
Despite the frustrations, the spirit she's been seeing from new performers is encouraging.
"I feel disabled actors who have been trying to get their big break in LA for many years often end up wrestling with their self-image after facing so much unwarranted rejection. But, I recently met a young girl who was an amputee on the set of the show 'I'm With Stupid,' and she did not have inferiority. Those are the fruits the American Disabilities Act," Stocking explained. "My work continues. I'm an artist first and foremost. I go to acting class twice a week. I work on the classics and they feed me. We're artists who hope to improve the quality of the work."
Anyone who has studied films involving disabilities knows that they often win awards.
"Producers have used our stories to win Oscars, they love the drama of the big disabled story. We can't be told we shouldn't be a part of it, but we're completely shut out of the process. They hire blind actors to train sighted actors to play blind characters. Why not hire blind actors?" Stocking asked. "They say we're just as good as other actors. In reality, we're better. Given our experiences, we have stared death in the face. We bring powerful experiences to draw on and we can bring that experience to roles. I know what it's like to have someone stare at you for thirty years. In plays and movies, characters are usually in trouble and are trying to turn their lives around. Who knows that more? We have something to offer unequalled in American society."
Stocking's next project is serving as Assistant Director on the production of "The History of Bowling" at The NoHo Arts Center, North Hollywood, CA, in March and April 2008.
"It's going to be a fantastic show," Stocking reminded. "It's a funny love story that happens to be about people with disabilities."
For more information on "The History of Bowling" or the Screen Actors Guild Performers with Disabilities Committee visit www.PerformersWithDisabilities.com.