BWBTC Events
BWBTC Shakespeare Richard III
The Edge Theater 5451 N Broadway St, Chicago, ILAligned with the mission of representing marginalized voices, BWBTC has partnered with UIC’s Disability Cultural Center to tell the tale of the malicious Richard of Gloucester. Casting both non-disabled and disabled actors, this production will not only examine stage combat as a storytelling tool, but interrogate the divide between “regular” theatre and “theatre for the disabled”.
Pre-show Touch Tour & Audio Description: BWBTC Shakespeare Richard III
The Edge Theater 5451 N Broadway St, Chicago, ILThirty (30) minutes before the performance, the touch tour and audio description involves a table of props and costume elements in the lobby that can be explored with touch, as well as a brief presentation in the theatre detailing the set and introducing patrons to the voices of the actors
MULTI-ACCESSIBILITY / TALKBACK DAY: BWBTC Shakespeare Richard III
The Edge Theater 5451 N Broadway St, Chicago, IL**Multi-Accessibility / Talkback Day** Aligned with the mission of representing marginalized voices, BWBTC has partnered with UIC’s Disability Cultural Center to tell the tale of the malicious Richard of Gloucester. Casting both non-disabled and disabled actors, this production will not only examine stage combat as a storytelling tool, but interrogate the divide between “regular” theatre and “theatre for the disabled”.
Post-Show TALKBACK: BWBTC Shakespeare Richard III
The Edge Theater 5451 N Broadway St, Chicago, ILPost performance “talkback” discussion beginning at 5:30 PM, facilitated by our collaborators at the University of Illinois Chicago’s “Making Inclusive Theatre” project.
CLOSING WEEKEND: BWBTC Shakespeare Richard III
The Edge Theater 5451 N Broadway St, Chicago, ILAligned with the mission of representing marginalized voices, BWBTC has partnered with UIC’s Disability Cultural Center to tell the tale of the malicious Richard of Gloucester. Casting both non-disabled and disabled actors, this production will not only examine stage combat as a storytelling tool, but interrogate the divide between “regular” theatre and “theatre for the disabled”.