Chicago Reader - Highly Recommended
"...Under the direction of Richard Costes, a deaf artist of color and disability advocate, the performance exudes open arms that are felt down to the diversity of audience members comfortable attending live theater that's intentional in its accommodations and inclusion. At two and a half hours, the two-act is long but engaging, with open captioning a plus for all audience members, given the density of Shakespeare's prose, and action-packed fight sequences a palate cleanser between soliloquies."
Around The Town Chicago - Recommended
"...While this is not a thoroughly modern version of the play, it is not a traditional one either. This collaboration of Babes with Blades and the University of Illinois Chicago's Disability Cultural Center, and the UIC Department of Theatre and Bodies of Work makes this Shakespearean drama a unique hybrid. It is meant to be inclusive of persons who might not have otherwise performed on stage in these roles, such as when women are paired with physical violence and violent acts. The show thus can enlighten us not just about British history but also about the truth of our own times: having to do with national and international politics as well as the politics of inclusion, having to do with sex, gender, and disability."
Chicago Theatre Review - Recommended
"...This is an often arresting and uniquely fascinating production to open Babes With Blades' 2022 season. For the hearing-impaired, there's open captioning of the dialogue, accompanied by the name of the character speaking. There's plenty of "blades" in the show's carefully choreographed swordplay. It's a production that, despite some problems, still makes Shakespeare's sixteenth century drama feel contemporary and accessible. Staged by Richard Costes, the production has its strong points, not the least of which is its inclusion of artists of every gender and from the disability culture. But, among several strong performances provided by this large, talented cast, it's really Azskara Gilchrist's evil portrayal of Richard that's the real reason to admire this courageous production."
Buzznews.net - Highly Recommended
"...Babes with Blades Theatre Company (BWBTC) uses stage combat to elevate the voices of underrepresented communities, allowing both participants and patrons to experience every person as exciting, vivid, dynamic people. BWBTC Shakespeare casts actors of marginalized genders, providing a new lens to perceive these classic stories. In RICHARD III, BWBTC partners with UIC's Disability Cultural Center, Department of Theatre, and Bodies of Work in a project called "Making Inclusive Theatre: RICHARD III as Disability Art", challenging the obstacles that actors face around accessibility. The cast of RICHARD III crosses barriers of gender and ableism to explore othering and disability culture."
The Fourth Walsh - Recommended
"...There is plenty of RICHARD III to enjoy. Coste definitely puts his own spin on a classic. One of my favorite touches is Tom Petty’s song ‘It’s Good to be King.’ It’s a fun theme song for the bloody race to the crown… especially for a contemporary audience. Still, if elements are added to a show, other stuff must be removed to tighten the story…especially for a contemporary, masked audience."
Splash Magazine - Recommended
"...As an audience member what was my take away? The set was at once simple, clean, functional and engaging. The swords were well used and impactful. The open captioning was very helpful and enhanced the performance. The story was modified so that Richard III was presented as cruel and ambitious but the disability that is often presented was not emphasized. The acting was excellent. The story is difficult. I was engaged and moved and glad I went to see this powerful play."
