Displaying items by tag: Victor Musoni

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/!  

James Ijames' Pulitzer Prize-winning play, Fat Ham, bursts onto the Goodman Theatre stage in a vibrant, deeply resonant co-production with Definition Theatre. Directed with an expert hand by Definition Theatre's Artistic Director Tyrone Phillips, this contemporary reinvention of Hamlet dazzles with humor, heart, and a profound exploration of identity, toxic masculinity, and generational burdens.

Set in a Southern backyard during a family barbecue, Fat Ham transforms Shakespeare's dark tragedy into a poignant yet hilarious meditation on living one's truth. At the center of this narrative is Juicy, played with remarkable nuance and emotional depth by Trumane Alston. Juicy's journey of self-discovery unfolds amid the ghosts—both literal and figurative—of his family's past, grappling with expectations of masculinity and the weight of inherited trauma.

Alston's performance is layered and compelling; his Juicy is introspective and tender yet brimming with an undercurrent of resilience, given time he will lean more into the character arc. His comedic timing is impeccable, delivering Ijames' sharp and incisive dialogue with a natural ease that invites the audience into his emotional world. Juicy's interactions with his spirited best friend Tio, brought to life by the dynamic Victor Musoni, provide some of the play's most humorous and thought-provoking moments. Musoni's portrayal of Tio is electric, offering a counterpoint to Juicy's introspection with boundless energy and unfiltered wisdom.

Ronald Connor impresses in the dual role of Rev and Pap, seamlessly shifting between the domineering ghost of Juicy's father and the charismatic over-sexed preacher presiding over family affairs. His presence looms large, embodying the toxic masculinity that haunts Juicy's world with an intensity that is both chilling and oddly comedic. Opposite him, Anji White as Tedra, Juicy's vivacious mother, delivers a powerhouse performance—balancing maternal warmth with an underlying desperation to escape her own past.

Ireon Roach’s Opal is a revelation, with her confidence simmering to the surface, while Sheldon Brown’s Larry, a stoic Marine grappling with his own identity, offers a poignant reflection of the play’s central themes. And no production would be complete without the powerhouse that is E. Faye Butler, whose presence on stage is nothing short of magical.

The technical elements of the production elevate the storytelling to new heights. Arnel Sancianco’s set design captures the essence of a Southern backyard with rich, lived-in detail, creating a tangible sense of place that enhances the play’s themes of home and heritage. Jos N. Banks’ costume designs are vibrant and character-driven, reflecting each individual's inner conflicts and outward personas. Jason Lynch’s lighting design cleverly shifts from naturalistic warmth to eerie supernatural hues, underscoring the play’s tonal shifts. Meanwhile, Willow James’ sound design punctuates the emotional beats with a careful blend of music and ambient sounds that ground the play’s heightened moments.

Phillips’ direction is both deft and sensitive. He embraces the play's comedic elements without undercutting its emotional weight. He crafts a production that honors Ijames’ bold vision while allowing the cast to fully explore the complexities of their characters.

Fat Ham is a triumph—an innovative, riotously funny, and ultimately moving exploration of what it means to break free from the ghosts of the past and forge an authentic future. Whether you're a Shakespeare purist or someone looking for a fresh, contemporary take on a classic story, this production offers something truly special.

With an outstanding ensemble, sharp direction, and a creative team firing on all cylinders, Fat Ham at Goodman Theatre is a must-see theatrical event that redefines what it means to inherit, to resist, and to thine own self be true.

Highly Recommended
When:    Through March 2
Where:  Goodman Theatre, 170 N. Dearborn St.
Tickets:  $25 - $85
Info:     Goodmantheatre.org/Ham

Black and Irish Twitter had a field day upon the death of Her Highness Queen Elizabeth II. No tears were shed other than tears of laughter and joy at the demise of a colonizer. Telling Black twitter to be respectful of the death of the woman who inherited the legacy of an empire that contributed to the Trans-Atlantic Slave Trade, or Irish twitter to mourn the woman whose legacy includes Black Sunday is truly an eye rolling, laugh inducting matter…sorry Chris. It is ironic “The Most Spectacularly Lamentable Trial of Miz Martha Washington”, lambasting the “Mother of Our Country”, opened the same weekend as the death of the Queen of the Commonwealth.

I learned so much from seeing this play. Much of James Ijames play is based on historical fact. Martha Dandridge Custis was a widow with two children and enslaved people when she married George Washington. She had an illegitimate half-sister, Ann, born into slavery, thanks to her father. Ann had a son named William. William is both nephew and grandson to Martha since it is believed Martha’s son, John Custis is Williams’s father. George Washington did instruct his wife to release his enslaved people upon his death.  Martha feared her life was in jeopardy and expressed it to Abigail Adams. James Ijames did his research writing this exceptional play. The writing is relevant, thought-provoking, and extremely entertaining.

The play opens Christmas eve night. An enslaved woman, Ann Dandridge is attending to a dying Martha Washington. Just outside and within ear shot are Miz Washington’s enslaved chattel waiting for the glorious moment of her death. They are aware of the clause in her late husbands will freeing them of servitude upon her death, and they can hardly contain themselves.  Miz Washington falls into a deep sleep and finds herself in a fever dream where she will have to account for the people she has enslaved.

Then the fun begins……

Not every director or actor could have pulled off this spectacle. And believe me, it was a spectacle. There was nothing small or tentative about this production. It was big, it was bold, it was Black and Beautiful. Director Whitney White used every fiber of all her talented actors to wonderful results. The ensemble consists of Sydney Charles as Priscilla, Celeste M. Cooper as Doll, Donovan Session as Sucky-Boy, Carl Clemons-Hopkins as Davy, Victor Musoni as William, Nikki Crawford as Ann Dandridge, and Cindy Gold as Martha Washington. All the ensemble members, except Cindy Gold, play a host of other characters.

Clint Ramos’ set design is interesting, dark, and foreboding at times, at other times a circus

Izumi Inaba’s costumes showed a vivid imagination, among the best I’ve seen. There are several scene and costume changes and for the life of me, I’m not sure how they were done so quick and effortlessly.

Ijames doesn’t romanticize slavery as I’ve seen in other plays. There is nothing nice about slavery. Ijames has made his enslaved people the antagonist to an American way of life, putting them at odds with those who romanticize this country.

I got into a row with someone on twitter about my indifference to the Queen’s death. He reminded me the British Empire abolished slavery decades before the United States. I reminded him the British Empire used slave labor to harvest sugarcane, they realized enslaved people with machetes aren’t good for business.

This production is highly recommended.

THE MOST SPECTACULARLY LAMENTABLE TRIAL OF MIZ MARTHA WASHINGTON runs through October 9, 2022 at Steppenwolf Theatre Company, 1650 North Halsted. Tickets are $20-$96.