All the world’s a stage and the players in romantic-comedy musical & Juliet are currently inviting everybody to join a pop-infused party at Milton Keynes Theatre, writes Georgina Butler.
When William Shakespeare’s new play, Romeo and Juliet, receives a lukewarm reception his oft-forgotten wife, Anne Hathaway, keenly communicates her dissatisfaction with the tragic ending. She proposes writing an alternative take on the tale of two star-crossed lovers – one that sees Juliet embracing life after Romeo and embarking on her own journey of self-discovery. Following some persuasion, the Bard relents and relinquishes control of his quill to his spouse.
As Juliet’s story evolves, soundtracked by a packed playlist of high-energy songs, Shakespeare and Anne indulgently argue back and forth about their ideas concerning which way the play should go. Shakespeare strives to remain true to his original script, while Anne is determined to deviate. Together, they shake things up beyond belief!
There’s hit after hit, plus humour and wit. You’ll bop while you sit. Truly, if you want to experience gleeful all-singing, all-dancing empowerment, entertainment and enjoyment – don’t miss it!
& Juliet is proudly done the J way – it’s about Juliet and it’s a jukebox musical. The song list reads like the sequencing of a Now That’s What I Call Music compilation CD celebrating the nineties, noughties and twenty-tens.
All the songs come courtesy of pop music’s magic melody man Max Martin’s extensive back catalogue. Having rose to prominence in the late nineties, co-writing and co-producing smash-hit tunes, he is the powerhouse behind the catchy hooks that fast-tracked the likes of the Backstreet Boys, Britney and Ariana to the top of the charts.
The songs, which are played by a live band, all feature in their entirety (no half-hearted snippets here, and there are also a couple of clever mashups) and are unashamedly integrated in brilliantly fun and engaging ways.
The ensemble performers establish a rapport with theatregoers before the show really gets going – they meander onto the stage, variously waving, sipping drinks and busting out dance moves.
This easy-going attitude towards connecting players and spectators continues once the action properly starts. The coming-of-age story, which seamlessly feels Shakespearean and contemporary simultaneously, bursts into life with concert-style exuberance and a knowing wink to the audience. Nothing is taken too seriously, yet everything hangs together so incredibly well.
Songs are included for laughs (there’s ‘I Want It That Way’, ‘Teenage Dream’, ‘Oops!... I Did It Again’, ‘I Kissed A Girl’, ‘Since U Been Gone’ and plenty more) and the fun factor is sky-high. But every song also functions as a proper musical theatre number should.
Each one furthers the narrative, develops characters and provides context for the show’s themes of acceptance, choice, inclusion and self-esteem.
Pop anthems compel us to move our bodies to the beat while the best theatre offers up inexhaustible energy and immersive escapism, so of course the company is constantly moving through high-octane dance numbers and dazzling scenes of possibility. Jennifer Weber's stylishly fluid choreography dynamically channels boybands and pop divas. Characters comedically cavort in bedrooms, hitch a dreamy supersonic lift to Paris in a tricycle-shaped carriage pulled by a carousel horse, dance on tables, dangle from a chandelier, sit on a crescent moon...
The entire cast makes & Juliet happen and they all steal hearts and raise beaming smiles in the process.
Still, there would be no ending to change without Shakespeare ("I'm sorry, but the ending hath been writ") and no fresh beginning to fight for without Anne ("I understand, but dear, the ending is ****"). Where there's a Will there's a Jay... Jay McGuiness (of boyband The Wanted and Strictly Come Dancing fame) shines as the stubborn showman who is schooled in the ways of the hopeful modern world by his forward-thinking, and equally strong-willed, wife.
Cheeky, with comedic timing and smooth vocals, McGuiness ensures the audience hangs on his every word "with bated breath". Standing up for women while keeping things "light, tight and fun", Lara Denning is a force of nature as Anne. She is the definition of a sassy songbird, effortlessly delivering quips, no-nonsense declarations, emotive revelations and soaring vocals. Whether engaging in verbal sparring, chasing each other for ownership of the quill or hilariously planting themselves as extra characters in Juliet's story, their chemistry is off the charts.
Juliet's nurse is reimagined as the worldly Angelique. Former Emmerdale actress and musicals stalwart Sandra Marvin makes her presence felt with charisma and campy physical comedy. As the plot twists and turns, two new characters enter stage right to host a renaissance ball like no other: François Du Bois (lovable Kyle Cox) and his father Lance (Lee Latchford-Evans from Steps, with a French accent!).
Romeo? Yes, he is mentioned and does make some, shall we say unexpected, appearances. Portrayed by understudy Liam Morris on press night, Romeo is not as "super dope" as the original tale would have us believe. Still, he has his role to play in this show, which ultimately explores what happens when women make their voices heard, own their choices and live life for themselves.
Anne gives Juliet a best friend called May (before then inserting herself as Juliet's second best friend, named April, and delighting in the idea of "April, May and Juliet!"). This gender-fluid character is exquisitely portrayed by Jordan Broatch. Their story of discovery highlights how questioning, othering and problematising only makes it more difficult for people to figure themselves out.
As Anne so emphatically expresses when Shakespeare raises an eyebrow: "Do you really think it is up to you to question May's gender or sexuality? Or do you think maybe May is whoever May is and it's really none of your business."
And Juliet. Gerardine Sacdalan is a leading lady with a voice that has the entire auditorium transfixed from the very first note. Barely ever offstage, she confidently makes songs her own, bounces through dance routines and radiates warmth and authenticity.
Too long; didn't read? No fear Shakespeare. & Juliet leaves theatregoers feeling joyous while also reflecting on some sensitive and serious themes. Everyone needs love, freedom and tickets. Join the party and vow to stay true to you.
Running time: Approximately 2 hours 30 minutes, including an interval.
Contains flashing lights, loud noises and some adult language.
Age guidance: 8+
*Production photography by Matt Crockett.
& Juliet continues at Milton Keynes Theatre until Saturday 12 April.
Georgina Butler is an editor, a dance writer and a ballet teacher. Visit https://georginabutler.co.uk and follow her on X
@GeorginaLButler and Instagram @glbdancewriter
