& Juliet returns after a three year stint in London's West End, embarking on its first UK tour, bringing the joyous musical back. With its book written by David West Read, & Juliet reinvents Shakespeare's infamous tragedy, Romeo and Juliet, with one simple question: What if Juliet didn't die? Now young, free, alive and with her entire life ahead of her, Juliet decides to take control of her own life. Directed by Luke Sheppard, this musical is a fabulous and fantastic night out, with endless spectacle, style and hit songs. The musical, however, has a tendency to prioritise spectacle over story with a book that pales next to its strong premise.
& Juliet begins with William Shakespeare (Jay McGuiness) and his wife, Anne Hathaway (Lara Denning) discussing the newly completed script of Romeo and Juliet. Anne, taking things into her own hands, convinces Shakespeare to allow her to alter the ending to give Juliet (Gerardine Sacdalan) a chance at a happy ending. The couple become narrators for the musical, often meddling with the story, twisting it to their own fancy, and breaking the fourth wall. Anne, interestingly, enters Juliet's world as April, a close friend of Juliet, leading to even more personal stakes. Juliet's companions are rounded off with May (Jordan Broatch), Juliet's non-binary best friend, and her Nurse Angeliqué (Sandra Marvin), who encourage her to find a better life. The group of four travel to Paris, and meet François (Kyle Cox) and his father Lance (Ranj Singh), forming a web of complicated relationships. Especially when a meddlesome Shakespeare decides to grant Romeo (Liam Morris for this performance) a second chance at life as well.
The musical is a bombastic event, filling the theatre with an infectiously joyful energy. Featuring some of the biggest pop music hits, all written by Swedish songwriter and record producer Max Martin, audiences will instantly recognise the songs. Stuffed with hits, & Juliet takes jukebox musicals to a whole new level of excitement, promising audiences a fun evening. Choreography by Jennifer Weber adds greatly to the production, allowing for ensemble numbers to go all out, filling Juliet's world with even more fire and richness. The songs lend themselves to extensive choreography that audiences will instantly marvel at in wonder.
However, the flipside of this is that the songs can often feel forced, with stiff dialogue leading up to songs in attempt to incorporate them. The premise and the songs take first priority, leaving the book portions of the musical to suffer greatly, as it tries too hard to be something that it isn't. The musical can at times feel too performative or "too in your face", to feel authentic in terms of storytelling with certain themes; although making proud statements not quite backing them with enough space for growth. Whilst it's not necessarily a bad thing, and rather enjoyable at times, the musical attempts to overwhelm audiences with the catchy songs, strong vocal performances and fantastic choreography.
The cast are talented, with Sacdalan as Juliet emerging as a young superstar. Sacdalan brings the perfect balance of sweet naivety and bold confidence to the performance, showcasing her impressive vocal range. Denning is astonishing, bringing the house down in her emotional, angry and powerful solo in Act Two. Broatch is severely underused in the role, for they bring such an earnest and refreshingly heartfelt portrayal, with gorgeous vocals. McGuiness as Shakespeare is delightfully stubborn, self-centred, but ultimately endearing along with strong vocals and natural charm, humour and Shakespeare's wit. Morris, who is first cover Romeo, does a splendid job as the goofball Romeo, managing to quickly get the audience to sympathise and feel for the character. Dashing, charming, endlessly amusing and Emotional, Morris, with only half a day's notice, is wonderful.
The script often feels stuck between wanting audiences to laugh with the characters, and laughing at the characters, leaving the talented cast to explore the space between and create their own interpretations of the characters; which they do so well.
Sheppard has kept the extravagant spectacular production that is & Juliet just as fantastic as ever, even whilst touring. Accompanied by large scale set pieces, including pillars, chandeliers and a floating moon, the show feels like an open invitation for audiences to be whisked away in Juliet's world. Designed by Soutra Gilmour, the sets also benefits from its use of a moving ladder as Juliet's balcony, with clever love locks dangling from the railings, creating an overall more modern and sleek approach. A large screen is fitted into the back wall, that helps with location changes and creates a glowing special effect throughout, which is particularly noticeable as a starry night (Andrzej Goulding).
Costume designer Paloma Young goes all out, creating an array of costumes that make the sets and cast shine even brighter. Juliet and Romeo's outfits, in particular, are popular amongst fans in the show, becoming a staple for musical theatre cosplayers. Lighting designer Howard Hudson, a master at his craft, once again threatens to steal the spotlight from all of the other strong features of & Juliet with the intensity and creativity of his lighting design. With fireworks, strobe lighting, sparkling stars, and coloured lights, Hudson has created a glamorous highlight to the show.
Despite a book that sometimes seems too ridiculous to take seriously, & Juliet manages to create an unforgettable and unmatched fun trip to the theatre, that leaves audiences feeling rejuvenated and bursting with new energy. Filled with classics that audiences know and love, a fun light hearted plot, brilliant choreography, set and lighting, and a talented cast, I'm confident to say, it's a musical you won't want to miss.
& Juliet is currently at the New Wimbledon Theatre until 1st February, before continuing on tour.
★★★☆☆ (3*)
Gifted tickets in return for an honest review | Photography by Matt Crockett
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