Displaying items by tag: Jonathan Shaboo

Come From Away begins from a place of deep uncertainty, yet what emerges is a story grounded in the steady, everyday kindness people offer when they have nothing else to give. Rather than revisiting the events of September 11 themselves, the musical focuses on the human responses that rose in their wake - small gestures that became anchors for thousands of strangers. Currently running at Marriott Theatre, this production leans into that humanity, reminding us that even in moments defined by fear, communities can reveal their best selves and set the stage for the remarkable true story that follows.

The origins of Come From Away trace back to the ten-year reunion of Gander residents and the airline passengers who found themselves unexpectedly grounded there during the September 11, 2001 airspace shutdown. Writers Irene Sankoff and David Hein attended that gathering, listening as people shared memories of fear, generosity, and the strange intimacy of those five days. Those first-hand accounts became the foundation of their musical, built from interviews, lived experiences, and the community’s own reflections.

Come From Away tells the remarkable true story of how the residents of Gander, Newfoundland opened their town to nearly 7,000 stranded passengers, transforming crisis into connection. Sankoff and Hein’s folk-infused score and ensemble-driven storytelling capture both the urgency of the moment and the warmth that defined the community’s response. Through intersecting vignettes - a pilot grappling with the weight of the tragedy, a couple who unexpectedly find love, and townspeople mobilizing with astonishing kindness as they scramble to meet the needs of thousands - the musical builds a fast-moving, emotionally resonant tapestry of resilience. The many moments are uniquely moving. One storyline follows a gay couple who initially fear they may have been displaced into a community that would not welcome them, only to discover that Gander’s embrace is far more open-hearted than they ever expected. Another centers on a mother whose son is a New York City firefighter, her fear deepening with every hour she goes without word of his safety. A further scene reveals how fear and uncertainty led to an instance of racial bias toward a Middle Eastern passenger, underscoring the tension and misunderstanding that shaped those early hours. It is also notable how long it took many of the stranded passengers to even learn why they had been grounded, completely unaware of the September 11 attacks unfolding beyond the airport tarmac.

One of the most striking things Come From Away made me realize is how little I had ever considered the logistics of suddenly hosting 7,000 unexpected guests. Lodging is the obvious hurdle, but the production makes you think about everything else: baby formula and diapers for stranded families, toothpaste and toilet paper for thousands of people who never planned to stay overnight, the sheer volume of food, toiletries, and basic supplies required to keep an entire town functioning under extraordinary circumstances. It is the kind of practical, human detail that rarely crosses your mind until a musical places it right in front of you. And right in the middle of all that panic and uncertainty, one passenger quietly quotes Philippians 4:6 — “Be anxious for nothing.” The moment lands with such gentle force that it clearly holds the audience, as if the reassurance reaches beyond the stage.

The ensemble works together with the fluid precision Come From Away is known for, but a few roles naturally carry more emotional weight. Beverly, played by Lexie Dorsett Sharp, provides one of the show’s strongest through lines, her reflections as a pilot adding quiet depth to the production. Claude, portrayed by Alex Goodrich, anchors the local perspective with a steady, good-humored presence as Gander’s mayor who so wonderfully inspires the townsfolk, while Hannah, brought to life by Sharriese Hamilton, is a deeply felt presence as the firefighter’s mother. Around them, the rest of the company contribute vivid moments that round out the tapestry of stories, each adding texture without overshadowing the show’s ensemble spirit.

Lexie Dorsett Sharp and cast in Marriott's Come From Away. Photo by Justin Barbin.

The cast also gets a welcome lift from its other strong players, each actor shifting cleanly through multiple roles with the precision the show demands. Justin Albinder, in particular, delivers sharply timed, very funny moments that consistently land. Alongside him, Matt Crowle, Devin DeSantis, Denise Devlin, Sarah Bockel, Madison Kauffman, Heidi Kettenring, Michael Earvin Martin, and Jonathan Shaboo contribute to a unified, well-calibrated company whose collective work feels much larger than the sum of its parts.

Marriott’s production benefits from clear, confident leadership behind the scenes. Jessica Fisch’s direction keeps the ensemble moving with purpose, shaping the intersecting stories with a calm, assured touch that lets the emotional beats land without force. Katie Spelman’s choreography adds subtle lift to the staging - never flashy, but always intentional - helping the momentum build in ways that feel organic to the storytelling. Scenic designer Scott Penner and lighting designer Jesse Klug further elevate the production, using Marriott’s in‑the‑round configuration and luggage that doubles as plane seats to create the illusion of a bustling, overcrowded environment despite a cast of just twelve. Through razor‑sharp transitions, fluid movement, and smart spatial design, the stage often feels packed with 40 or 50 people, turning simplicity into spectacle without ever losing intimacy.

The musical’s score finds some of its strongest moments in a handful of standout numbers. “Me and the Sky,” led by Lexie Dorsett Sharp, remains the show’s defining emotional peak, her performance giving the song a grounded clarity that resonates long after it ends. Ensemble pieces like “Blankets and Bedding” and “28 Hours / Wherever We Are” showcase the cast’s cohesion, capturing both the frantic energy of Gander’s rapid mobilization and the passengers’ first fragile steps toward connection. Alex Goodrich brings an easy charm to “Screech In,” turning the raucous drinking ritual into one of the evening’s most crowd-pleasing scenes. And in “I Am Here,” Sharriese Hamilton delivers a quiet, concentrated punch, shaping one of the musical’s most affecting solo moments. The musical lift throughout is supported by conductor Celia Villacres and music coordinator Trevor Jones, whose work keeps the score driving, unified, and emotionally sharp. In these moments, the score shows its full range, moving easily between lightness, tension, and heartfelt storytelling.

What surprised me most was how deftly the musical balances somberness with humor. Given the weight of September 11^th (now approaching its 25^th anniversary), I expected the tone to stay anchored in grief, but Come From Away keeps finding pockets of levity, warmth, and genuine laughter. The humor never undercuts the tragedy; instead, it highlights the resilience and humanity that emerged in the midst of fear. The show moves back and forth between emotional registers with such ease that you are never left in one feeling for too long, making the experience unexpectedly uplifting.

Marriott Theatre’s production of Come From Away offers a thoughtfully crafted, emotionally grounded evening that earns its place among the company’s stronger musical offerings. The ensemble’s cohesion, the clarity of its overall arc, and the steady warmth woven throughout make this a production well worth seeing.

Highly Recommended.

Runs through October 18^th at Marriott Theatre in Lincolnshire.

One hour and forty‑five minutes with no intermission.

Tickets and additional information: www.marriotttheatre.com/show/come-from-away  

Walking into the Courtyard Theater for Rome Sweet Rome, you might find it’s impossible not to be taken aback by the design. College Pollard’s Scenic Design astounds – particularly with the large replica Michaelangelo’s sculpture the David at the center. The catch? The statue is featured from behind, giving the audience a prime view of the David’s backside for the entire performance. Especially when combined with Lighting Designer Jesse Klug’s bright, flashing lights and Jax and Composer Jeffrey JQ Qiayum’s invitation to get up and dance to the bumping mix blasting through the speakers, space sets the audience up for two things:

1. This play clearly takes place in some version of Rome.
2. Nothing can quite prepare the audience for the event that they are about to experience.

The Q Brothers Collective’s Rome Sweet Rome is an adaptation of William Shakespeare’s Julius Caesar, but with quite a few twists – including a full 90s hip-hop soundtrack and fun, top-notch choreography from Tanji Harper. The production is a party from the moment the lights come up, and looking around at the audience surrounding me at this performance, it was clear everyone was ready to lean in.

Caesar (POS), the charismatic tyrant at the center, carries a strong hold over Rome. He continues to pass increasingly absurd laws out of fear of losing that control. When Caesar makes the decision to outlaw bread, a select group decides it’s time to take action. Cash (Jonathan Shaboo), Brutus (Victor Musoni), and Casca (Danielle Davis) decide to stage a coup and take him down. The question is, will they succeed? Can they bring bread back to Rome before it’s too late?

Janyce Caraballo (center) with the company of Rome Sweet Rome at Chicago Shakespeare Theater, a wild and satirical new “add-rap-tation” of Shakespeare’s Julius Caesar from Q Brothers Collective (GQ, JQ, JAX, and POS). September 23-October 19, 2025, in the Courtyard Theater.

It’s not hard to miss the political undertones beneath. A power-hungry ruler at the center who continues to grasp at power in any way he can. This theme is present in the original source material and certainly makes its way into the adaptation. We continue to see history repeating itself. Greedy rulers leave voids for those just like them to take their place – often times more paranoid than the last and grasping even harder at whatever they can.

However, the Q Brothers do their work to carry the story further into today. In a key moment when Brutus turns to the audience and instead, makes it about us. The lights in the audience come up and he pointedly asks if this is what we want. Do we want to murder him? Do we see the trends and do we want to change them?  Musoni certainly builds a chemistry with the audience in this moment, and you might find it’s easy to allow the fourth wall to come down and begin to engage in the dialogue. Though a little on the nose, the message acts as a helpful reminder that these stories are more timely than ever. Perhaps we can all do with a little “on the nose” as we continue to navigate what to do next in this political climate.

Full of a pizazz and a poignant message, Rome Sweet Rome has a little something for everyone. Whether you are a die-hard Shakespeare fan or this is your first time with the material, the Q Brothers make Julius Caesar accessible, and even invite us to take a little accountability along the way.

RECOMMENDED

Rome Sweet Rome runs through October 19, 2025 at Chicago Shakespeare Theater. For tickets and information, see the Chicago Shakespeare Theater website.

*This review is also shared on https://www.theatreinchicago.com/!  

Walking into the Harris Theater for the “Trial of Themistocles,” I was expecting something translated from ancient Greek, togas, masks, maybe a chorus, and a scholarly script that would take some work to wade through.

Instead I found the latest installment of a delightful Trials Series produced since 2013 by the Chicago-based National Hellenic Museum on Halsted St. This program is part of the museum’s mission to advance awareness of the foundational contributions Greece has made to world civilization, in architecture, philosophy, mathematics, and—particularly timely—democracy. The Museum’s “Trial” series is actually mock-trials of historic Greek figures conducted by actual Chicago judges and argued by prominent local barristers. The annual event was qualified by the Illinois Attorney Registration & Disciplinary Commission (IARDC) for continuing legal education (CLE) credit. Attorneys attending the event can register for CLE credit on site.

Though scripted in a somewhat light-hearted tone, the “Trial of Themistocles” evokes weighty matters—touchstone societal issues that underpin our mode of government, and our means to maintain a civil society. It was reassuring, even moving, to be among those hundreds in the audience interested in rational thought and with a cosmopolitan, worldly view of history. While we extol the Renaissance and the Age of Enlightenment that followed, these periods were essentially a rediscovery of the wisdom of Greece.

Themistocles was an Athenian citizen, the city where trial by jury originated. He was the military chief who planned Athens’ creation of a large fleet of warships, multi-oared triremes, and led them to victory against the mighty Persian empire at the naval battle of Salamis. As a result, Themistocles’ star rose and he was elected Archon of Athens, the head of the city-state. He was a peoples’ candidate, with more common roots in his family tree, but was not welcomed by the aristocracy.

After he left office, history tells us that political rivals besmirched Themistocles’ reputation, accusing him of collusion with the Persians while leading Athens—even though he had defeated the Persons for Athens’ benefit. His enemies were animated to take him down, and Themistocles was ostracized—another Athenian invention —where he was voted out of town. Themistocles then left for an administrative post in Persia. The Athenians summoned him back to be tried for treason, but in real life he died before the trial took place.

Katerina Alexopoulos (U.S. Department of Homeland Security) questions Themistocles, played by Jonathan Shaboo, as the judges, jury and other attorneys look on in the National Hellenic Museum's Trial of Themistocles

In the “Trial of Themistocles,” hosted by former TV news anchor Andrea Darlas, only two professional actors were on stage: in the roles of Athenian politician and naval leader Themistocles (who died in 460 B.C.E.) played by Jonathan Shaboo; and the witness for the prosecution, Arsenia, played by comedian Megan Goldish. In her day job, she happens to be the Honorable Megan Goldish, a Cook County Circuit Court Judge.

All this was presided over by a panel of real-life area judges, and with a 12-person jury of scholars, lawyers and media personalities from NBC, Axios, WVON, and including Georgia Tasiopoulou, Consul General at the Greek Consulate in Chicago. Though the Trial series is a one-night-only performance, it was filmed by WTTW for later broadcast. The 2016 broadcast of the “Trial of Antigone” won an Emmy for the local National Public Television affiliate.

Our streaming world is filled with police procedurals and legal shows with actors playing lawyers. In the “Trial of Themistocles,” we got a chance to see how the real deal compares with actors, and in their opening arguments, cross examination, and summations delivered by actual lawyers, it turns out they’re as good as the actors imitating them, maybe even better. In the “Trial of Themistocles,” they acquitted themselves very well, as did the judges.

Leading the defense were Patrick M. Collins, a partner at King & Spaulding law firm; Tinos Diamantatos, a seasoned Katerina Alexopoulos, Assistant Chief Counsel for the U.S. Department of Homeland Security. And for the prosecution, Sarah King, president of the Women’s Bar Association of Illinois; and Patrick Salvi II, managing partner of Chicago law firm Salvi, Schostok & Pritchard. For the record, I felt Diamantos gave the best oratorical delivery.

All four judges found Themistocles not guilty, including Justice Joy V. Cunningham (Illinois Supreme Court), Hon. Georgia N. Alexakis (U.S. District Court for the Northern District of Illinois), Hon. Anthony C. Kyriakopoulos (Circuit Court of Cook County) and Hon. Jeffery Chrones (Circuit Court of Cook County). Listening to the judges’ reasoned findings dismissing the charges against Themistocles, it was apparent that their opinions were infused with the master principles enshrined in U.S. law. The 12-member panel of esteemed jurors on stage—composed of civic leaders, academics and media personalities—found Themistocles not guilty by a margin of 11-1. Likewise the audience voted, overwhelmingly for acquittal.

The Museum says its NHM Trial Series “highlights the enduring relevance and value of Greek thought and history.” I couldn’t agree more.

The National Hellenic Museum Has a mission to share Greek history, art, culture and the Greek American story, it also displays its extensive collection of more than 10,000 physical artifacts. Located in Chicago’s historic Greektown neighborhood since 2011, Museum hours are Thursday through Sunday from 10 a.m.-4 p.m. nationalhellenicmuseum.org

*This review can also be found at Theater in Chicago.