Fabiola Caraballo Quijada Brings a New Kind of Juliet to Life
September 3, 2026
Fabiola Caraballo Quijada Brings a New Kind of Juliet to Life
Words by: Breanna Mroczek
Poised, proud and predominant: Women deserving of remembrance
Playing Juliet has never looked this bold — or fun
Attending a Broadway show in New York City is a bucket list item for any fan of theatre or musicals; fortunately, we are lucky enough in Edmonton to have the opportunity to see Broadway-quality costumes, performances, and sets, thanks to Broadway Across Canada touring shows. The latest season of shows kicks off in September 2026 with one many have eagerly been waiting for: the Tony award-nominated jukebox musical titled & Juliet. Writer David West Read — who won an Emmy award for his work on Schitt’s Creek — has reimagined the ending of Shakespeare’s famous Romeo + Juliet.
For actress Fabiola Caraballo Quijada, the journey to playing Juliet in the North American tour of & Juliet has been nothing short of extraordinary. Just one month after graduating from high school, the young performer captured one of musical theatre’s most prestigious honours at the Jimmy Awards — a milestone that quickly led to an audition for the hit Broadway musical. “It’s something I’ve been working very, very hard towards,” Caraballo Quijada says. “I thought it was a great way to close out that chapter of my life.”
Now, Caraballo Quijada steps into the shoes of one of literature’s most recognizable heroines — though this Juliet is anything but traditional. Rather than ending with Shakespeare’s famous tragedy, & Juliet imagines what might happen if Juliet chose to write her own future.
“It’s been truly incredible,” she says. “I love that this take on Juliet is all about positivity and empowerment, but she’s also allowed to make mistakes. Every night is different. The cast I’m surrounded with is so much fun, and every performance is full of laughter and new discoveries.”
Caraballo Quijada has performed in more than 300 shows across North America as Juliet, and will be taking the stage in Edmonton from September 22 – 27.
The role of Juliet has challenged her in new ways physically. The demanding choreography has pushed her beyond anything she’s done before.
“I’m doing a lot more physical things in this show than I’ve ever done,” she explains. “The way I dance has totally changed, and watching the incredible dancers in our ensemble has been such a learning experience. I can feel myself growing every day.”
Among the show’s many pop anthems, one number stands above the rest.
“I absolutely love ‘Roar,'” she says. “It’s the final victory cry of the show. We’ve all heard that song in grocery stores or clothing stores, but getting to sing it in this completely different context is so beautiful. It’s this huge, powerful ending that reminds you you’ve gone through a journey.”
Above all, Caraballo Quijada hopes audiences leave the theatre feeling seen. She believes & Juliet succeeds because its many storylines speak to people from all walks of life, from queer romance to second chances and female empowerment.
“There’s a story for everyone,” she says. “People come up to me after the show and tell me how impactful it was for them. It’s full of energy, colour, and positivity. Whether it’s a girls’ night out, a mother-daughter outing, or simply an escape from whatever is happening in your life, it’s a beautiful show that reminds people there’s always another way to write your story.”
See & Juliet in Edmonton at the Northern Alberta Jubilee Auditorium from September 22 – 27, 2026.
In a world where every voice has a megaphone, portrait artist Shana Wilson utilizes her creative skills and self-made platform to honour historical figures through art. With an oversized canvas, a palette of carefully mixed oil paint and a collection of brushes, Wilson paints powerful close-up portraits. Her portfolio mainly consists of women: poised, proud and diverse.
The people Wilson paints are often recognizable, well-known public figures-politicians and changemakers; those with legacies that will far outlast them, whether it be in a classroom syllabus or through the works of art they have created themselves. Wilson portrays each person in such a dignified way that even if they weren’t well-known, a viewer would likely still interpret them as powerful personalities with a keen sense of self-assurance and dignity.
When it comes to choosing who to paint, Wilson has no shortage of inspiration. “They choose me, I think. They are everywhere, doing great things, making the world a better place. I only wish I had more arms so I could pay tribute to more of them.”
Compositionally, Wilson’s work is outwardly interesting. She brings her subjects to life by capturing their distinct gaze. Each glare speaks to a unique and telling story. She applies basic photography rules to blend illustrative strength and aesthetic
reasoning, especially by engaging the person’s dominant eye as an unmistakable focal point. In doing so, Wilson manages to capture pride, along with other profound emotions, through her subjects’ eyes.
Her acute awareness of the male-dominated nature of art history is evident in her work. “The historical works on the walls of major galleries and museums are painted by males, for the male gaze. The men are depicted in positions of power, and women
coquettishly reclining on a chaise. It is so critical that children,when visiting artistic institutions, see female reflections that inspire,” says Wilson.
The choices she makes are a deliberate nod to the nobility of
iconic women. Capturing their proud posture, intense gaze, and skin texture that reminds us that aging is a privilege, the level of esteem Wilson holds for the women she immortalizes on her canvases is undeniable.
Her accomplishments are many. Since 2011, Wilson has participated in numerous solo and group exhibitions around the globe. For nearly two decades, scores of media outlets have written about or reported on her paintings that include portraits of trailblazers like Amelia Earhart, Jane Goodhall, and Gloria Steinem. Her most memorable professional achievement, however, is her portrait of Ruth Bader Ginsburg that graced the cover of TIME magazine in 2020—an opportunity she almost missed by assuming the offer in her inbox was unsolicited spam.
Despite her impressive biography, her contribution to decommissioning the male gaze, and the work she does to uplift women, Wilson doesn’t see herself as she does the people on her canvases. “People don’t need to remember me. They need to remember the women that I paint, and all the good humans out there, of any gender, that are making the world a better place,” she says.
WWW.SHANAWILSONARTIST.COM
