After its sparkling triumph of a West End success, & Juliet is now touring the UK to bring the uplifting roar to a venue near you. Retelling the tragedy we have all grown familiar with, Shakespeare's works become destined to see a new light when Romeo and Juliet's famous ending becomes the beginning of a fresh story. But can Shakespeare truly be a strong enough man to write a stronger woman?
Imagine she lives: all those adventures still to be had. Exploring the play (or musical, rather)-within-a-play concept, Anne Hathaway, played by the phenomenal Lara Denning, pitches her chance at a more feminist-centric narrative, with William (Jay McGuinness) reluctantly agreeing to collaborate. In doing so, Juliet - Gerardine Sacdalan, a total pocket rocket - must escape her toxic mother (Katie Ramshaw) and fight for the freedom she has always craved. Taking some friends and meeting others along the way, April (Lara Denning as Anne's self-cast counterpiece) and May (Jordan Broatch) embark on a journey with Juliet to find her future. Joining them, nurse Angelique (Sandra Marvin), is the perfect package of funny and feisty, acting as another guiding light while all three end up on unexpected personal voyages of their own.
Featuring the hits of Max Martin - the songwriter/producer of more number 1s than any other artist this century - expect a whole host of tracks packed into this jukebox musical. '...Baby One more Time', 'Since U Been Gone', 'It’s My Life', 'I Want It That Way', and 'Roar' are just a small selection of the chart toppers that make their way neatly into the script. No matter how many times you catch this production, it will never cease to amaze how surprisingly well it flows. The only break is when De Bois Band make their reunion... but you're welcome to decide your own level of fun vs cringe factor for that one!
Similarly, Romeo's characterisation (played by Liam Morris for this performance) is flaunted fairly camp and egotistically, which divides opinion on whether the comidic effect overrides any deeper meaning. Alternatively, the role of May represents non-binary identity on stage in a way that will always be revolutionary for the arts, with Jordan's impression during 'I'm Not a Girl, Not Yet a Woman' and 'I Kissed a Girl' being crucial in this.
Though Shakespeare has trouble handing the reigns to his wife, Jay's depiction actually portrays more of a cheeky persona than a bitter one that would've packed more of a punch. However, the chemistry between François (Kyle Cox) and Lance (Lee Latchford-Evans), a duo met as the story progresses, worked well, especially with the beautiful resolution through 'Shape of My Heart'. It has to be said, that the most impactful and showstopping moment was Lara Denning's rendition of 'That's the Way It Is'. Her part is sung with sincerity at such a pivotal point with vocal prowess, providing a pinnacle to an already outstanding performance of her characters.
When at home in London, the production had the privilege of the incredible space that Shaftesbury Theatre has to offer, therefore transforming this into an unforgettable theatrical experience. It is always expected that a loss will come from the necessary changes for the requirements of moving between regional venues, but sadly, the reliance on technicalities previously mean some elements are without that extra magic. The set has been pared back hugely, lacking the dimension that pushes the staging beyond a 'flat' feel. This is particularly notable with concepts like the house that appears in several moments, and what once looked 3D, is now merely a backdrop, and the travelling scene which seems rather static. Although there are some scenes that incorporate flight or pyrotechnics, it's clear that the limits projected dull the dynamics to some degree (especially notable in 'One More Try'). Even the minimal use of different levels - for example, where the plinths are now removed - seems quite barren since they were not used particularly creatively. Furthermore, the disappearance of some set pieces such as the beautiful tree from during 'Whataya Want from Me' leave the characters vulnerable in 'dead space'. The company are vital in being supporting voices, but there are a few (namely Aaron Shales and Rosie Singha) that were definitely underutilised with their skills, too. Perhaps, overall, just be cautious to suggest comparison as this version evidently doesn't match that of the past.
However, Jennifer Weber's choreography is electric for bringing those popping sequences together with the tracks and Luke Sheppard's choreography. The vibrant additions of dazzling costumes by Pamola Young further the ability to draw the audience in as they become committed to watching the events unfold. From the pre-show interaction with the cast on stage, to the unfathomable amount of confetti you will likely be finding for days ahead, there is no escaping the fact that this show is still such a tonic.
In summary, it's fantastic for & Juliet to have the opportunity to tour and share the love with more around the country. While it may feel a tad underwhelming for those who anticipate a larger (than life) scale production, it's still a thoroughly enjoyable piece of theatre for anyone attending. With hope, the ample adoration can bring it back in all its glory to the West End again soon!
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