Ruth Madeley is set to electrify screens with her portrayal of Gabs in the BBC's gripping adaptation of Liz Jensen's 2009 bestseller, 'The Rapture'. In what's being hailed as a game-changer for disability on screen, Madeley takes on her most high-profile role yet, bringing a depth and authenticity that's been missing from many TV dramas. As she delves into the psyche of Gabs – a clinical psychologist left paralysed after a car accident – Madeley draws upon her own life experiences to deliver a performance that's as captivating as it is relatable.
Madeley, who has lived with spina bifida since birth and uses a wheelchair 90% of the time, knows all too well what it takes to adapt to changing circumstances. And it's this insider knowledge that gives her portrayal an edge – a nuance that might have otherwise been missing from the script alone. Her personal connection to the role has allowed her to bring a level of authenticity that's nothing short of remarkable.
'The Rapture' is more than just a psychological thriller; it's also a heart-stopping exploration of our collective fears about climate change and its devastating impact on society. Set in a secure psychiatric unit for children, the series hurtles towards an apocalyptic climax, with Madeley's character at its centre. As the world around her descends into chaos, Gabs becomes increasingly fixated on Bethany – an inmate with visions that are becoming all too real – against a backdrop of extreme weather and intensifying climate activism.
But what makes 'The Rapture' truly groundbreaking is Madeley's commitment to authentic representation. As an executive producer, she's pushing the boundaries of disability in media, demanding that productions do more than just tick boxes when it comes to inclusivity. With her own charity work and advocacy for disability rights, Madeley knows that there's still much work to be done – but with 'The Rapture', she's paving the way for a new era of representation on our screens.
As someone who has been vocal about disability rights since childhood, Madeley is acutely aware of the industry's limitations. But she's also proud of the progress that's been made, particularly in hiring disabled actors – albeit acknowledging there's still much ground to cover when it comes to bringing more disabled directors, producers, and heads of department into key roles.
Throughout her 12-year career, Madeley has gradually chipped away at traditional narratives around disability. Her BAFTA-nominated performance in the short film 'Don't Take My Baby' was a turning point – not just for her but also for the wider industry. With productions now less likely to treat disability as a one-off plot point, there's hope that we're entering a new era of cultural representation – and Madeley's at its forefront.