Jamie has contributed to print and web publications including The Guardian, BBC Ouch, Time Out, Disability Now and Access All Areas.
The Headmaster, Richard Tomlinson was a co-founder of Graeae Theatre Company,[4] where Beddard would later work as an actor, writer, and director.
A number of these are referenced in Gary Owen's 'The Drowned World' and include: Beddard has held various Company positions and directed a range of cross-media productions.
"[13] His performance was also picked up on in the Financial Times: "Jamie Beddard plays the most astute of Macheath's lieutenants, largely from a wheelchair due to cerebral palsy, but makes every expletive ring through the Olivier.
"[14] Beddard's appearance in the production was mentioned by Vikki Heyward in The Stage as indicative of "a new era of theatre, an era of acceptance and realisation that Deaf and disabled people should be – and can be – involved in a variety of shows"[15] Mark Shenton in his review of the show, also in The Stage remarked: "It is also notable, because it's so rare, to see a wheelchair-using actor, Jamie Beddard, among the ensemble.
"[16] This came at a time when the National Theatre were starting to change its auditioning policy by responding to The Creative Case and opening its doors to disabled actors.
[17] As Disability Arts Online's Editor, Colin Hambrook observed in a review of the show: "aside from Nabil Shaban, Beddard is the only other wheelchair-using actor to tread the boards of the National Theatre in a pivotal role.
Beddard's portrayal of Corbaccio in Flesh Fly (1997) garnered commentary in literary criticism volumes about Ben Jonson's play.
Here that factionalising of the audience which Jonson frequently promotes came forcefully alive to one's awareness, causing one to question the grounds on which one might laugh.
[33] Beddard starred alongside Jason Williamson from the Sleaford Mods in the 2017 short film, Lost Dog, which The Irish News described as "a tiny yet thought-provoking slice of life in 'austerity Britain'".
I feel a responsibility to the majority of disabled people who are finding life increasingly difficult, as Access to Work, the Independent Living Fund and care packages are savaged, and any gains we have made over last thirty years are consigned to history.
Non-disabled actors boost their red carpet prospects by offensively replicating impairments, as if physical appearance alone is shorthand for capturing the essence and character of a disabled protagonist.