Another week in which a deluge of deeply distressing world events might make you want to hide from media outlets. There are people in the BSR community directly affected by strikes on Iran, Israel, and neighboring countries, violence in Mexico, Russia's ongoing war on Ukraine, and many other atrocities. Of course our job here at BSR isn't to report on military campaigns or foreign affairs, but we acknowledge how stressful this time is for many of us and that it affects whether and how much we can engage in our local community.
We hope you can remember how grounding and worthwhile it is to stay connected on a local level, find things that entertain and inspire you, support truth-telling artists, and join others who share your values. If you've opened this newsletter, you are well on your way.
This week our writers are heading to a new Penn Museum gallery on Native North America (Pamela J. Forsythe says it grapples honestly with tensions between institutions and Indigenous groups), the 2026 Flower Show (Gabrielle Kaplan-Mayer loves this year's student installations), and Alvin Ailey's latest stop in Philly (Camille Bacon-Smith reviews). And don't miss Anndee Hochman's visit to Acting Without Boundaries, where a leader asks how theaters can pride themselves on their creativity if they refuse to figure out how to include disabled artists.
We have lots more coverage on deck for March: reviews of the latest at the Walnut, People's Light, the Arden, the Wilma, and lots more are coming up. Thanks for spending another week with us!
Alaina Johns
BSR editor-in-chief
If theater is about creativity, why can’t we make room for disabled artists?
Anndee Hochman
A Bryn Mawr-based theater company proves that with patience, flexibility, and innovation, disabled artists of all ages can take to the stage, enjoying community, careers, and creativity. Anndee Hochman visits.
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