Abstract: The play “Supernormales” is a mix-abled theatrical production, addressing the ethical aspects of providing sexual assistance services to individuals with disabilities. The narrative revolves around María, a young Spanish woman who is a sexual assistant. The play explores her challenges in normalizing her profession within her relationship and in front of the audience. Other scenes also delve into similar conflicts, presenting viewpoints from both abled individuals and those considered as the non-abled "other." The play frequently breaks the fourth wall, establishing theater as a means of empowerment for individuals with disabilities. It exhibits a noticeable inclination towards a sex-positive stance, advocating for the recognition of a "human right to sex" for people with disabilities.

Details: The play begins with some actors dressed in work clothing, lifting a large Roman-ish sculpture placed within green bushes, revealing a young, non-abled man (Juan). A young abled woman (María) approaches him and caresses him erotically. Another woman (Carmela, who is dating María) storms the stage and confronts her. Their discussion is private and political – negotiating their partnership and the morality of a “right to sex” for non-abled persons. While María mainly tries to normalize sexual assistance, her girlfriend focuses more on the exclusivity of their affair. She feels jealous. In a moment of anger, Carmela begins to masturbate Juan; she finishes and leaves. The other cast members appear behind the bed and sing a pseudo-religious chant. In the next scene, non-abled Sara is seated on the bed. She holds a box with the letters “mi voz” (my voice) written on it. María is standing behind her, holding a microphone, being that/her voice (since Sara cannot speak clearly). To begin with, Sara delivers a monologue detailing her ordeal of being subjected to exploitation by her father. He suppresses her desires, exercises control, condescends, and resorts to physical aggression. He opposes Sara's freedom of expression by using María as a conduit, metaphorically shutting her down and manipulating her perception of reality. He also prohibits her from pursuing her romantic interest, Jorge, who has Down Syndrome. Two non-abled policemen arrest the father for domestic violence and imprison him. This situation also instills fear in Sara, as her abusive father remains the primary figure in her life whom she closely associates with. After this, the actress portraying Sara engages in another monologue, this time using her voice and adopting a fresh character identity named Pepita Grilla. She addresses the contradictions of inclusion in mixed-abled theaters. As Eladio, a little person, enters, she calls him “enano” (dwarf), which angers him. Pepita reveals that Eladio is a prostitute, and his current contract is a stag party. Electronic music plays, and Eladio parties with the other actors. Jesús enters the stage and tries to call the police on this behalf. Eladio furiously stops him, shaming Jesús and explaining that he likes his job and does not like being patronized. Next up is Mateo’s mother. She talks about the sexual desires of her non-abled son. Mateo appears to grapple with an unmanageable sex addiction, resorting to assaulting women, including his mother, due to his fixation on breasts. Consequently, his parents acquire a sex doll for him, as it doesn't experience the repercussions of his disorder.

In the subsequent scene, Alicia (her voice conveyed through subtitles positioned above her bed) is accompanied by her nurse, Mari. Alicia delivers a monologue about the challenges she faces in conveying her thoughts effectively and not being taken seriously by the world around her. On one hand, her body is subjected to public attention, with nurses and family members touching her for practical reasons, but lacking any emotional connection. An actor, who portrays a man called Simon, enters. He reveals that he fetishizes and abuses non-abled persons by stalking and helping them, only to later gaslight them into establishing sexual relations with him. As he will be arrested, he reveals that he only does this to persons who cannot speak and, therefore, never indict him. Juan and his therapist discuss his priorities concerning sexual assistance. Juan affirms that he mainly cares about having a pretty girlfriend, while the therapist criticizes his normative beauty standards. Juan counters that beauty standards are exactly that: supernormal. Maria and he establish boundaries for the relationship: Sexual activities, yes, but no intimacy and no kisses (with tongue). Juan seems perfectly fine with this rather distanced agreement and gets excited. Carmela and María return and are fighting again over María's work, which, according to her, is “supernormal” in Barcelona. This ignites a discussion on Catalonian subculture, and Carmela accuses this “grupet de amiguetes Neo-Modernes de Pueble de la Escuela de Bellas Artes de Barna” (very sarcastically, partly in Catalan: “group of neo-modern friends from Pueble [referring to Poble-Sec, a bohemian quarter in Barcelona] from the College of High Arts in Barna [slang for Barcelona]”) of normalizing something not-normal. Ironically this group appears behind the bed, affirming Carmelas fears with a strong Catalan accent. Pepita returns. The other actors surround her. She again speaks on the contradictions of a practical inclusion of non-abled people, be it in architecture or culture. She mentions an invention that enables deaf people to ‘hear’ through the transmission of vibrations and the option of captions for blind persons. At the same time, she criticizes those since they force the non-abled into the abled standard instead of amalgamating both worlds. Subsequently, an over voice narrates the story of Rosa, a mother who has sex with her non-abled son Raul to satisfy his sexual desire. They both sit on the bed. Ironically the voices criticize the gendered division of labor in sexual assistance. She then mentions a medicine that reduces the libido and discusses the conflict of taking away Raul’s only enjoyment. Two parents enter and talk about their non-abled son Germán very awkwardly. They seem to want to care for him, but without fully acknowledging his disability (Down-Syndrome). They seek sexual assistance for him, but in a more “holistic” way: Sex, care, education, tenderness, love – but without him knowing that it is commodified, so that he thinks he experiences something ‘normal’ (and not ‘staged’). A therapist calmly explains how sexual assistance does not work this way. Germán enters and affirms loudly that he is not normal and that he does not like his parents being in this play. Lola enters, asking for sexual assistance for herself. The therapist explains to her that abled people are not entitled to this service. Lola reacts angrily, claiming that she is being discriminated against (and deserves the service for being “fat and ugly”). Eladio intervenes, backing up the therapist’s argument. The interaction provokes Juan: he criticizes Eladio for being ‘not non-abled enough’ to claim sexual assistance for himself, reproducing prostitution (while sexual assistance originally seeks to reduce prostitution). This position is countered by a ‘real’ prostitute, who claims recognition for her work. Toñito, with Down-Syndrome, enters and bids the prostitute for her services. The therapist intervenes and explains to both of them that Toñito needs sexual assistance (instead of prostitution). She asks the auditors to pick, and they choose María. The next scene shows another argument between María and Carmela (while Toñito is lying on the bed, casually speaking). Carmela engages in a conversation with María, delving into María's dedication to her profession, her future intentions in the role, and her emotional stance toward her clients (expressing concern that María might develop romantic feelings for them). María reassures Carmela that such a scenario won't occur, which inadvertently upsets Juan, leading him to question María's level of commitment. In the end, Carmela openly admits her dissatisfaction with their current situation and contemplates the possibility of ending her relationship with María. At the end of their argument, some actors (all visibly non-abled) reenter the stage. They affirm that their life has greatly improved since they rely on Maria’s assistance. One of them, a little woman wearing devil-like horns, claims that one-day María will satisfy her orally. Carmela seems devastated. A ‘protest’ erupts, and the non-abled actors storm the bed, yelling, “We want to fuck” holding corresponding signs. A second-wave feminist in a wheelchair enters the stage, demanding to stop the normalization of commodifying women. The protest returns – “María, I would fuck you right here.” Carmela intervenes, screaming, “María is mine!”. The rally resumes again, occasionally holding so that María can ask rhetorical questions towards the auditory: “Where is this play going? Is it emancipative? Does the non-abled community support it? Is it morally right?” A sort of ableist vice squad then shuts down the protest. María then again asks if this were a good final for the play while questioning if ‘good finals’ are something substantial in the first place. Meanwhile, Sara and Jorge enter, sitting on the bed. It is their first time together, and they are nervous. Sara takes his hand and kisses her. He proposes to marry him, and Sara responds that she prefers to do “cositas” (“thingies”) with him. They lay down hugging, and the Roman-ish stature is lowered above them. The play ends with the arm of the statue breaking off.