Before we talk all things Shakespeare (yes, this is a new twist on an old, old story), can we talk about “Schitts Creek”? I discovered all six series of this fabulous sitcom during the early pandemic and along with my husband Graham, we binged on the lot!
Often belly laughing out loud, occasionally in tears but mostly just letting it wash over us. When I discovered that one of the writers and executive producers, David West Read, had done the book for a re-work of Romeo & Juliet in musical theatre form, I was in there like a shot to take my Royal Circle seat at the Shaftsbury Theatre to watch & Juliet.
Not quite knowing what to expect I can tell you that the unexpected was a delightful romp from start to finish with the audience up on their feet at times as we were swept along with leading lady Miriam-Teak Lee as Juliet and her life beyond Romeo, played by understudy Carl Man (who did a cracking job by the way).
There’s a collective term for musicals who draw their track list from the pop world. Have you heard the phrase “Jukebox Musical”? I’m not sure I like the reference but in short “& Juliet” draws all its music from the rather extensive back catalogue of music and song writer Max Martin.
Who’s he? You might well ask. Well, let me tell you he’s the guy responsible for most of the biggest pop hits of the last 25 years. Second to Lennon & McCartney no less. He’s a media shy Swede who keeps himself in the shadows and refuses to do interviews. Yes, he’s happiest hiding in the wings. His job, by his own admission is “to make the artists stand out, my focus will always be on the vocal performance”. So, it’s no surprise then that the vocals were outstanding, but the selection of songs was just pure genius.
With songs usually performed by Britney, Kelly, Katy Perry, interwoven into the piece it was just a matter of time before the audience were up on their feet. Most notably “I’m not a girl, Not Yet a woman” beautifully sung by Alex Thomas Smith, who played May (a new character to the plot) and the fabulously talented Miriam-Teak Lee, as Juliet.With recent pop standards like “Oops I Did It Again”, “I Want It That Way”, “Show Me the Meaning of Being Lonely” the show takes off when the “Du Bois” band launch into “Everybody”, a five-piece performance of full-on boy band fabulous-ness.
However, it doesn’t stop there! In this story Juliet becomes an empowered young woman, ready to embrace and write her own destiny; a super swift costume change and seriously kick ass tempo change leading to “Roar” took the energy level to even greater heights and had us all jumping in our seats!
We join this story at the end of Juliet’s life when Shakespeare, played by Oliver Tompsett and his wife, Anne Hathaway, Cassidy Janson, decide to modify the plot, initially by agreeing that Juliet should not die her original tragic death. It becomes a marital battle as Anne and Will fight for the quill. They take Juliet on her very own story “beyond Romeo”. With quill in hand Anne writes herself into the storyline as “April”. Together Juliet, her bestie May, Nurse, and the newly styled Hathaway/April leave Verona to head to Paris and London.
Here they each start their own voyages of self-discovery meeting yet more characters new to the story. Understudy, Rachel Moran, playing Nurse meets Lance du Bois, Julius D’Silva, a former employer/lover.Lance is desperately keen to marry off his son, Francois, Tim Mahnedran, who himself has yet to acknowledge his own sexual identity. Gender identity, sexual awakening, marital harmony and the pursuit of real love are subtle and underlying keys to the plot.
More twists and turns and in another confrontation Will and Anne go one step further to re-introduce Romeo! This time Romeo must prove himself to Juliet. She’s travelled a long way since their first encounter!
It sounds complex. Believe me, it isn’t as the whole piece is so cleverly crafted that you simply get swept along. This musical &Juliet rewrites her own story but this time with a very different outcome.
At the very heart of & Juliet is the belief that the show be both a celebration of theatrical tradition and pop culture and this comes across the footlights in spades. There are moments where we are in direct conversation with Shakespeare but in the next breath the show celebrates the joys and high-octane vibe of a live, pop concert. With light, sound and the thrill of song and dance inspired by the street and hip hop culture. Choreographer, Jennifer Weber, has nailed this edgy, modern piece to the floor with hyper cool, powerful, strong and super clean movement staging.
The wardrobe and styling are very much Marie Antoinette goes to the gym and reflect the choreography perfectly. The show starts with Shakespeare’s players warming up and interacting directly with the audience. Each have a unique style that contains elements of modern dancewear and period details. A contemporary and funky twist on the corset, doublet and hose synonymous with the original period.
Director, Luke Shepherd, brought together a dream team of ‘headliners and players’, musicians and creatives and this show is not to be missed. On at the Shaftesbury Theatre, West End until end March 2023. The show already has Broadway in its sights.
The final song “Can’t Stop the Feeling” is still ringing in my ears two days on from leaving the theatre. I didn’t want to . . . stop the fabulously, feel-good feeling!! Book your ticket now!
&Juliet Reviewed by Deana Morgan @deanamorgandance
