Benoit Teves

Je’Shaun Jackson is trading the 'perfection' of reality TV for the glorious vulnerability of a backyard barbecue. Dive into our conversation with the FAT HAM star on finding the light in Juicy’s softness and the radical power of a Black queer lead who finally gets to breathe.

From the fitting room to the stage, accomplished performer, designer, director, and educator Jos N. Banks is the definition of what it means to be a creative 'multi-hyphenate.' As both the costume designer and a lead performer in Orlando Shakes’ FAT HAM, Jos discusses the power of vulnerability, the reclamation of Southern imagery, and why it’s time for the theater industry to stop putting Black queer artists in a box.

Orlando Shakes’ production of FAT HAM is a sensory-rich, unapologetically Black, and proudly queer reimagining of Hamlet that trades Shakespearean tragedy for hard-won joy. Set against a stunningly detailed backyard cookout, Je’Shaun Jackson’s stylized performance as Juicy anchors a vivid ensemble that navigates familial duty and identity with breakneck pace and ear-watering humor. Ultimately, this breath of fresh ai' production asks the vital modern question: to be what others expect, or to be unapologetically yourself?

In a production that marries 16th-century gravitas with 21st-century urgency, Director Monica Long Tamborello finds a delicate balance between Act I’s playful hope and Act II’s harrowing descent, reminding us that while the feud is ancient, the loss of innocence remains a devastatingly contemporary price to pay.

Brendan O'Leary (Romeo) and Nadia Ra'Shaun (Juliet) pull back the curtain on the 'young energy' and intense preparation behind their title roles in Shakespeare's most famous tragedy. From the technicalities of 'Juliet Boot Camp' and the secret musicality of Shakespearean vowels to the high-stakes anxiety of playing dead for 16 minutes while school groups watch for a flinch, the duo explores how they keep a 400-year-old story feeling urgent and real.

Part bar, part group hang, and part chaotic theatrical experience, The Renaissance Theatre Company’s production of MEAN GIRLS blurs the lines between a traditional show and an immersive club experience. While the scrappy staging and mid-show cocktail deliveries lean heavily into the troupe’s immersive club roots, the production is anchored by an exceptionally talented cast and a live band that keep the energy electric. It’s a messy, defiant, and undeniably fun outing for a company that continues to make an indelible mark on the city’s queer arts scene.

Titusville Playhouse’s HAIRSPRAY delivers a high-energy 'Baltimore fairytale' that stays true to the show's tradition of camp and exuberance. Featuring several standout performances, the production deftly balances infectious musical numbers with a technicolor parade of 1960s fashion. While celebrating the show's joyous optimism, the production acknowledges modern perspectives on diversity and offers a refreshing, timely escape for 2026 audiences.